The exhibition unfolds through a soft interplay of fantasy and material inquiry, weaving together ideas of artist-as-philosopher and practice-as-self-reflection.

Schenck presents large-format drawings on newsprint, rendered with marker, gesso, and gold leaf, rooted in the language of photography and acts of preservation. His process borrows from photographic logic—exposure, development, framing—using drawing as a way to test what can be saved and what inevitably slips away. Working with fragile, impermanent materials, Schenck explores the tension between holding and losing, clarity and erosion. Drawings on tracing paper, rolled and sealed inside glass bottles, extend this inquiry: images become contained, protected, and delayed, like negatives archived or messages suspended in time. These works ask what it means to preserve an image, and whether saving something also changes it.

Stone’s work operates between archive and abstraction. Layered paint applied over photographs of her studio evokes the comfort of the familiar while opening onto dreamlike…