Claudia Flynn employs alchemical combinations of organic materials such as cast iron, horse hair, animal teeth, and volcanic rock to create three-dimensional and two-dimensional works that address metaphysics, gender, social justice, and the boundaries between artistic creativity and mental illness. Worn patinas and dry natural materials lend their history to her work. Flynn's recurring motif is the self-portrait. Her archetypal self-representations, at times autobiographical, speak wisely to the human condition.

Barbara Pagh creates a paper environment of images and forms relating to natural cycles. Hanging from the ceiling are stitched sheets of flax or abaca (both flax and abaca are plants whose fibers are used to make the paper) with imagery showing the gradual transition of fiddlehead ferns from tight spirals emerging from the ground to full fronds. Three-dimensional forms resembling pods or vessels made from flax are scattered on the floor. The sequence of ferns and the pods are symbols for potential, growth and change. The installation is not a representational space but one that evokes the feeling of entering a natural environment surrounded by trees and plants and calls for contemplation.