Flux Factory

Ben Galaday: MILK BONE, 2021,&nbsp;fabric, foam, batting, plywood, 9 x 7 x 1.5 inches, unique, signed on versoA vestigial remnant of time spent, time put in, a job well done. A passenger seated and strapped in with no choice but to serve, now a medal of honor retired to the realm of signifiers, soft and worn.Bio: Living in a dog-lick-frog world, Ben Galaday handcrafts bespoke Twiddle Muffs and other therapeutic objects in the Dreamcore aesthetic for adults living with undiagnosed dementia in NYC.<a target="_blank" rel="noopener noreferrer nofollow" href="http://bengaladay.com">bengaladay.com</a>

Ben Galaday: MILK BONE

Flux Factory’s Art Auction is back! You can bid on works by over 50 Fluxers and friends.The auction will culminate with our <a target="_blank" rel="noopener noreferrer nofollow" href="https://withfriends.events/event/8G1IGCy5/flux-factory-2025-art-auction-gala/">Gala</a> on October 23, from 6:30 to 9:30 PM at 55 Suffolk. Join us to see the artworks in person, enjoy a catered open bar, and take in the lovely view of downtown Manhattan.Bidding will remain open throughout the evening and officially closes at 9:00 PM, so make sure to get your final bids in on time!This annual Auction &amp; Gala supports Flux’s free public programs and affordable artist residencies.<a target="_blank" rel="noopener noreferrer nofollow" href="https://withfriends.events/event/8G1IGCy5/flux-factory-2025-art-auction-gala/">Buy Gala Tickets Here</a>

Amelia Marzec: Apothecary, 2020,&nbsp;Photograph, 9 x 9 x 1 inches, Unique, signed versoMedicinal plants collected on a cold war nuclear missile site across from the New York harbor.&nbsp;Amelia Marzec is a New York based artist engaging with communications infrastructure to inform a speculative future. Her work has been exhibited at SIGGRAPH, MIT, ISEA (Canada), University of the Arts Helsinki (Finland), ONCE Foundation Contemporary Art Biennial (Spain), NODE Forum for Digital Arts Biennial (Germany), and is part of the Rhizome ArtBase at the New Museum. She was a resident at Eyebeam, Ox-Bow, and Harvestworks; a fellow at NYSCA/NYFA, A.I.R. Gallery, and Columbia University; a visiting artist at CalArts; and nominated for the World Technology Awards for Art. She holds an MFA in Design and Technology from Parsons, and a BFA from Mason Gross School of the Arts.

Amelia Marzec: Apothecary

Amir Badawi: Sirius, 2021,Ink on Paper, 24 x 18 inches, Unique, Signed VersoThis work on paper is produced using special masking techniques developed by the artist to produce unique, ghostly marks. Titled “Sirius”, the artwork references the brightest star in the northern skies sometimes known as the Dog Star. It’s associated with canines in various cultures around the world and has been used by many for navigation.&nbsp;“Sirius” was shown in Absence of Evidence 2024 Ny, NyBio: Amir Badawi is a visual artist that lives and works in New York City. He earned his BFA from the University of Houston in 2013. Badawi and his partner Asya Yaschenko run 334Broome, a studio and exhibition space located in the Bowery. His practice consists of ink and watercolor works on paper as well as textile sculpture. Through these media Badawi makes images using representations of nature, mythology, religion, science, and philosophy to evoke a dilated perspective of our existential position, prompting viewers to face the unknown with gratitude and humility. Badawi asserts that we should be united by an honest appraisal of our ignorance rather than divided by our beliefs.

Amir Badawi: Sirius

Angela Washko: Heroines with Baggage:&nbsp;Sacrifice for the Boys, 2022Cyanotype and drawing on watercolor paper, 24 x 16 inches (framed: 30 x 20 inches), Unique, signed verso"Heroines with Baggage" is a series of videos and prints that Angela Washko initially created in 2011. Through the project, Washko replayed the 1990s role-playing video games which were formative to her as a child. Upon replaying these games, it became clear to the artist that the women represented were frequently portrayed as collapsing, running scared, afraid of being alone, and always in need of rescue by a male protagonist. By constructing videos and print installations featuring only scenes focused on female characters from these games, Washko makes the presence of these stereotypes and oversimplified gender binaries visible and woefully obvious.This 2022 installation version of the project at Northeastern University's "At Play" exhibition featured a new wallpaper piece, three 16 x 20" cyanotype prints, and a video work. This is one of the three cyanotype prints entitled "Heroines with Baggage:&nbsp;Sacrifice for the Boys"Bio:Angela Washko is an artist, filmmaker, and experimental game developer who creates new forums for discussions about feminism in spaces frequently hostile towards it. Her practice spans interventions in virtual environments, performance art, media installation, documentary film, video games, and tabletop roleplaying experiences. A recipient of the United States Artists Fellowship, Creative Capital Award, National Endowment for the Arts award, Franklin Furnace Performance Fund, and the Impact Award at Indiecade, Washko's practice has been highlighted in The New Yorker, Frieze Magazine, Time Magazine, The Guardian, ArtForum, The Los Angeles Times, Art in America, The New York Times and more. Her projects have been presented internationally at venues including Museum of the Moving Image in New York, Centre Pompidou-Metz, Los Angeles Museum of Contemporary Art, the Milan Design Triennale, the Shenzhen Animation Biennial, and the Korean Film Archive. Angela Washko is the Catherine B. Heller Professor of Art and the MFA Program Director at University of Michigan.

Angela Washko: Heroines with Baggage: Don't Forget Me

Bahareh Khoshooee: Chocolate Turns Me On (Hysteria), 2019,Inkjet on paper, 8.5 x 11 inches, Third Edition of 3 (+ 2 AP), signed versoChocolate Turns Me On (Hysteria) reflects on the long history of policing women's desires, pleasures, and expressions, where femininity itself has often been pathologized. Referencing the legacy of “hysteria” as a diagnosis used to silence and control women, the work embraces provocation and excess as forms of resistance. At once intimate and declarative, this print reclaims agency through humor, sensuality, and unapologetic visibility.Bio:Bahareh Khoshooee is a multidisciplinary artist, feminist activist, educator, and the co-founder of two collectives –Blockbusters (an international group of New Media artists), and [Redacted] (a network of feminist artists, activists, and technologists). Born in Tehran, Iran, Khoshooee uses time-based strategies in presenting work that fuses 3D environments, video projection mapping, sculpture, performance, and sound. Her practice explores the complex dualities of technology: its oppressive role in surveilling, documenting, and criminalizing BIPOC bodies, and its radical potential for futurity and alternative solidarities. Her work unearths how technology mediates the intimate and collective experiences of grief, violence, and memory, reclaiming these spaces as arenas for liberation, and reimagined futures.Khoshooee is the recipient of Eyebeam’s Democracy Machine Fellowship and a Skowhegan alumna. She has presented her solo installations at the Dorothy Center for The Arts, Baxter St CCNY, The Elizabeth Foundation for The Arts,The Orlando Museum of Art,and NADA MIAMI 2018 among others. Khoshooee has been included in various group exhibitions including the Honor Fraser Gallery, Latinx Project, Southern Exposure, Museum of Photography Stockholm, and the Museum of Fine Arts St. Petersburg. Her work has been featured in The Huffington Post, The Guardian, Artnet News, The Metro, and The Creators Project.<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.baharehkhoshooee.com">www.baharehkhoshooee.com</a>

Bahareh Khoshooee: Chocolate Turns Me On (Hysteria)

Bhasha Chakrabarti: Meditations on Mending, 2019Cyanotype on handmade paper, 6 X 4.75 inches (framed: 11.75 x 10.625)This work is an exposed cyanotype of a carefully darned cloth, leaving an impression of the repairs done and exposing the detailed structures within the mend. When one looks closely at things which have been mended, you notice that each instance of darning is different from the next and thus instead of a mundane and purely utilitarian act which seeks to simply restore, one can see mending as a creative gesture that confronts fragility, vulnerability, and impermanence, is reminiscent of the particularities of context, embodies hope and continuity in spite of rifts, and foregrounds the feminine and the intimate.

Bhasha Chakrabarti: Meditations on Mending 

Cameron Granger: Texture Map #1 - "I lend you my sword", 2025,Silkscreen on paper, 11 x 8.5 inches, AP 1, signed versoBio: Cameron A. Granger is Sandra’s son &amp; came up in the Euclid, Ohio.He likes pigeons, video games, &amp; memes. Lately he's been thinking about how myth making and narrative have been used as a means to police the imagination, and making movies with his friends. He’s a lifetime member of MINT Collective, long may it live, and an alumni of Euclid Public Schools and the Studio Museum in Harlem AIR program.

Cameron Granger: Texture Map #1 - "I lend you my sword"

Cameron Granger: Texture Map #3 - "...&amp; I lend you my body", 2025,Silkscreen on paper, 11 x 8.5 inches, AP 1, signed versoBio: Cameron A. Granger is Sandra’s son &amp; came up in the Euclid, Ohio.He likes pigeons, video games, &amp; memes. Lately he's been thinking about how myth making and narrative have been used as a means to police the imagination, and making movies with his friends. He’s a lifetime member of MINT Collective, long may it live, and an alumni of Euclid Public Schools and the Studio Museum in Harlem AIR program.

Cameron Granger: Texture Map #3 - "...& I lend you my body"

Candace Jensen: Catalog of Ligatures, 2023,&nbsp;Letterpress from Hand-Set Woodtype on Somerset paper, 15&nbsp; x&nbsp; 22.5 inches (Framed: 16.25 x 23.75) ,Edition Variee: 15 of 16, Signed&nbsp;Candace Jensen is a collapse-aware utopian committed to culture informed by deep ecology. Her work is grounded in explorations of language and story, animism, deep ecology, and building creative community. Her creative media include calligraphy &amp; manuscript illumination, poetry &amp; essay, printmaking, painting, and curating. She is cofounder and Creative Director of In Situ Polyculture Commons, an arts residency and eco-cultural catalyst on unceded Abenaki land, in Vermont.Jensen earned her BFA at Tyler School of Art, and her MFA at the Pennsylvania Academy of the Fine Arts, both in Philadelphia, PA. She has exhibited in NYC &amp; Brooklyn, San Francisco, Oakland, Antwerp, Belgium, Southern Vermont and Hillsborough, NC. Reviews and interviews have appeared in White Hot Magazine, Art New England, the Adroit Journal, Ante Mag and Studio Visit Magazine. Her art and writing have been published by the Dark Mountain Project, the Index Press Quarterly, Eratio Postmodern, and collections published by ecoartspace, and a forthcoming Cambridge Writers’ Workshop publication, Disobedient Futures, via the University Press of Kentucky. A special issue of Regeneration Journal, On the Cold Edge: Creative Meditations on Svalbard, is imminently forthcoming. Co-edited by Jensen and two incredible colleagues, it is set to be published by the Open Library of the Humanities online in 2025. Jensen’s curatorial projects have focused primarily on ecological and social justice frameworks, and been exhibited in Brooklyn, Philadelphia and now Southern Vermont. She also serves as Art Editor for Ruth Stone House’s independent poetry journal, Iterant Magazine.<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.candacejensen.com">www.candacejensen.com</a> / <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.insitupolyculture.org">www.insitupolyculture.org</a> / <a target="_blank" rel="noopener noreferrer nofollow" href="http://iterant.org">iterant.org</a>

Ben Galaday: MILK BONE

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