Flux Factory

N.D. Austin: Bottle-aged cocktail from Threesome Tollbooth, Vintage 2024,&nbsp;Booze, Graffiti Stencil, Sealing Wax, 12 x 3 x 3 inches, Limited Edition 3 of 12, signed on versoThis limited edition bottle-aged cocktail from New York's most intimate bar can be consumed now or cellared up to 30 years.

N.D. Austin: Bottle-aged cocktail from Threesome Tollbooth

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>

Maureen Catbagan: Light Tunnels: Chelsea Gallery Elevator, NY, 2014-15,&nbsp;Digital C-print, 8.5 x 11 inches, Open Edition, Signed on versoThe series is a meditation on visibility, invisibility, and meanings of access. Overlooked windows, shafts, elevators, and lobbies of museums and famous architectural buildings transform into sublime openings.&nbsp;Bio: Maureen Catbagan is a multi-media artist based in New York whose work engages social collectivity and explores the intersections of immigration, labor, and visibility. Collaborative projects include Abang-guard with artist Jevijoe Vitug, and the Yams Collective. Catbagan has exhibited in venues such as the Queens Museum, 601Artspace, PS 122 Gallery, The Center for Book Arts, Governors Island in New York, and The Contemporary Museum of Honolulu. They have performed in venues such as The Metropolitan Museum of Art, Abrons Art Center, DUMBO Art in New York, and Art Quarter Budapest. Fellowships and grants include the 2025 NYSCA-Support for Artists Grant, the 2025 NYFA-Queens Art Fund, and the 2024-25 Queens Museum-Jerome Foundation Fellowship for Emerging Artists amongst others.

Maureen Catbagan: Light Tunnels: Chelsea Gallery Elevator, NY

Melanie Delach: Pulled One Way or the Other, 2024,&nbsp;Acrylic, Colored Pencil, Crayon, and marker on paper, 15 x 11 inches (framed: 16 x 20 x 1 in), Unique, Signed on versoMelanie Delach (b. 1995, New York) is a mixed media artist based in Queens, New York. Delach’s work spans from textured mixed media paintings to intimate drawings that are an introspection about spiritual connection, self-discovery, transformation, and placeless-space. Delach received a BFA in Studio Art from Adelphi University in 2017 and an MFA at the Pennsylvania Academy of the Fine Arts in 2019. Recent exhibitions include: RegularNormal NYC, Anna Zorina Gallery, Marinaro Gallery, Dinner Gallery, The Hole NYC, Loft Projects NYC, The Museum at the Pennsylvania Academy of the Fine Arts, Gross McCleaf Gallery, and NEWCHILD Gallery (Belgium). She received the Fine Arts Venture Fund and The Judith McGregor Caldwell Purchase Prize, and was nominated for the Colene Brown Art Prize. Delach’s work is a part of numerous private collections and notably in the Museum of the Pennsylvania Academy of the Fine Arts permanent collection.<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.melaniedelach.com">www.melaniedelach.com</a>

Melanie Delach: Pulled One Way or the Other

Naeem Mohaiemen: When Worlds Collide (1), 2020,Polyamide 12 nylon 3D print, spray paint. 5 x 14 x 15 inches, Limited edition 1 of 5,&nbsp;When Worlds Collide was commissioned by The Power Plant, Toronto, Ontario, in conjunction with solo exhibition What We Found After You Left (2020). When Worlds Collide 1 and 2 imagine hybrid architectures conjured of fragments of six buildings featured in Two Meetings and a Funeral (2017). Revealing the various styles of ostentatious, masculinist architecture that served as vehicles for divergent ideologies in this period, the sculptures equally visualize a collision and intersection of these ideologies. In their form, the objects turn inside out the idea of a “pivot” moment of 1973-1974 that was central to Two Meetings positioning within its premiere at documenta 14 in Kassel.1a: Luigi Moretti, Palais de Nation, Algiers, 1961.1b: Beijing Institute of Architectural Design, Bangabandhu International Conference Center, Dhaka, 2001.1c: Bazel M. Salune, Provincial Assembly of the Punjab, Lahore, 1938.2a: Oscar Niemeyer, La Coupole, Algiers, 1975.2b: Oscar Niemeyer &amp; Le Corbusier, UN General Assembly, New York City, 1952.2c: Oscar Niemeyer, Houari Boumediene University of Science &amp; Technology, Algiers, 1969.Bio: Naeem Mohaiemen combines films, photography, drawings, and essays to explore forms of utopia-dystopia within families, borders, architecture, and uprisings– beginning from South Asia and then radiating outward to transnational collisions in the Islamicate world after 1945. Several conversations around “nonalignment” as a concept container in contemporary art pivoted after the premiere of his film Two Meetings and a Funeral (2017) at Documenta 14, which was a finalist for Britain’s Turner Prize (2018). His artwork is represented by Experimenter, Kolkata and film screenings by LUX, London. Projects are in the collections of the Museum of Modern Art (New York), Tate Modern (London), MACBA (Barcelona), Van Abbemuseum (Eindhoven), Kiran Nadar Museum (Delhi), Samdani Art Foundation (Dhaka), British Museum, National Gallery of Singapore, and Art Institute of Chicago. Art Review magazine’s recent cover story about his work brackets the work within the phrase "left wing melancholy" (after Walter Benjamin). He is Director of Undergraduate Studies, Visual Arts Department, Columbia University.<a target="_blank" rel="noopener noreferrer nofollow" href="http://shobak.org">http://shobak.org</a>Weight: 5 lbs

Naeem Mohaiemen: When Worlds Collide (1)

Natalia Nakazawa: The Grass Beneath, 2023,&nbsp;mixed stoneware and underglaze, 8.5 x 6 x 4, UniqueBio: Natalia Nakazawa is a Queens-based interdisciplinary artist and educator working in painting, textiles and social practice. A child of Latin American (Uruguayan) and Asian (Japanese American, yonsei, 4th generation) diasporas, her work is deeply in touch with multi-generational cultural legacies. Natalia’s community-driven projects explore ideas of transnationality, cultural identities, storytelling, archives, and patterns of migration. Blurring the boundaries between education, activism, and art making, each of her projects is based in collaborative processes, inviting participation and collective imagining. In her jacquard textiles series, the artist pulls images from the online open access collections with a focus on objects that embody historical moments of cultural exchange. Nakazawa’s work encourages critical engagement with personal histories, utilizing the familiar, warm format of the tapestry as a means of creating objects that can be simultaneously comforting and disruptive.Natalia received her MFA in studio practice from California College of the Arts, a MSEd from Queens College, and a BFA in painting from the Rhode Island School of Design. Her work has recently been exhibited at Wave Hill (Bronx, NY), Arlington Arts Center (Washington, DC), Transmitter Gallery (Brooklyn, NY), The Metropolitan Museum of Art (New York, NY), The Cleveland Institute of Art (Cleveland, OH), Wassaic Project (Wassaic, NY), Lafayette College Galleries (Easton, PA), and The Old Stone House in Brooklyn (NY). Natalia has been an artist in residence at The Children’s Museum of Manhattan, MASS MoCA, SPACE on Ryder, Wassaic Project, Facebook AIR, Interlude Artist Residency, CAMPO Garzon, Triangle Arts Association, and Wave Hill Winter Workspace.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.natalianakazawa.com/">https://www.natalianakazawa.com/</a>

Natalia Nakazawa: The Grass Beneath

Patrick Costello: Earthly Delights: Blue Vervain, 2022Risograph print, 10 x 12 inches, 32/50, signed on versoBio: Patrick Costello is an interdisciplinary artist exploring the impacts of history on present ecologies – giving specific attention to the intricate relationships of care and control that define gardens and other cultivated landscapes. Steeped in over ten years of experience as a gardener in New York City, his work takes cues from the humble yet transformative processes of compost heaps, where decay becomes a catalyst for new possibility.Patrick has received a MacDowell Fellowship and was the Performing Artist-in-Residence at Brooklyn Botanic Garden. He has exhibited work at the Museum of Contemporary Art Detroit, Socrates Sculpture Park, Queens, NY; and Stone Quarry Hill Art Park, Cazenovia, NY. He has performed in venues including Ars Nova, New York, NY; The Philadelphia Museum of Art; and The Public Theater, New York, NY. He holds an MFA from Hunter College and a BA from the University of Virginia.<a target="_blank" rel="noopener noreferrer nofollow" href="http://patrickjcostello.net">patrickjcostello.net</a>

Patrick Costello: Earthly Delights: Blue Vervain

Patrick Costello: Earthly Delights: Goldenrod, 2022Risograph print, 12 x 10 inches, 32/50, signed on versoBio: Patrick Costello is an interdisciplinary artist exploring the impacts of history on present ecologies – giving specific attention to the intricate relationships of care and control that define gardens and other cultivated landscapes. Steeped in over ten years of experience as a gardener in New York City, his work takes cues from the humble yet transformative processes of compost heaps, where decay becomes a catalyst for new possibility.Patrick has received a MacDowell Fellowship and was the Performing Artist-in-Residence at Brooklyn Botanic Garden. He has exhibited work at the Museum of Contemporary Art Detroit, Socrates Sculpture Park, Queens, NY; and Stone Quarry Hill Art Park, Cazenovia, NY. He has performed in venues including Ars Nova, New York, NY; The Philadelphia Museum of Art; and The Public Theater, New York, NY. He holds an MFA from Hunter College and a BA from the University of Virginia.<a target="_blank" rel="noopener noreferrer nofollow" href="http://patrickjcostello.net">patrickjcostello.net</a>

Patrick Costello: Earthly Delights: Goldenrod

Petr Shvetsov: untitled, 2018,Canvas, Oil, 9 x 12 x 1.75 inches, Unique, signed on versoPetr Shvetsov is a notable Russian contemporary artist born in Leningrad (now St. Petersburg) in 1970. He is recognized for his expressive and often provocative works that span painting, graphics, installation, and sculpture. Shvetsov's art frequently explores themes of beauty, cultural identity, and the interplay between tradition and modernity.Petr Shvetsov divides his time between St. Petersburg, Russia and South Royalton, Vermont, and works in different media, including, painting, sculpture, and large scale installations. He has participated in numerous solo and group exhibitions in Russia, the U.S., and Europe and his work can be found in the collections of the State Russian Museum, New York Public Library, British Library, Saxon State Library (Dresden), Institute of Contemporary Russian Culture (Los Angeles), University of CA Library( Santa Barbara). <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.shvetsov.info">www.shvetsov.info</a>Educated at the Leningrad Secondary Art School (now the St. Petersburg State Academic Art Lyceum), Shvetsov has been a member of the St. Petersburg Union of Artists since 1992. His career includes international residencies and exhibitions across Europe and the United States. Notably, he spent time working in England, Denmark, Finland, and the USA in the early 1990s, experiences that have influenced his artistic development.

Petr Shvetsov: untitled

Rebecca Forstater: All the Winners, Artifact #4, 2021polylactic acid, silicone, pigment, hydrographic print, 1.625 x 1.25 x 2.625 inches, UniqueAll the Winners is a series of works that use machine learning to create mashups of viral memes featuring reality television cast members,probing the temporal gap that fuses past and present into a singular, complex narrative. These works reveal tangible markers of both societal progress and recurring shortcomings. This work invites reflection on what it means to engage with such imagery across vastly different contexts, exploring the complexities embedded in digital culture’s layered relationship with memory, empathy, and humor.

N.D. Austin: Bottle-aged cocktail from Threesome Tollbooth

hi@basta.app