UnBound14! Artist Features: X
PHOEBE SCHUMAN-GOODIER • MARC SIRINSKY • ANTHONY EARL SMITH • DONNA SOO • TYLER STOLL • ELIZABETH STONE • JP TERLIZZI
UNBOUND14!
June 27 – August 9
Join us for a breakdown of our annual juried + invitational photography exhibition. Throughout the exhibition, we’ll share information about our artists and the processes behind their featured pieces.
SUPPORT THE EXHIBITION:
UnBound! is our annual juried photography show which directly supports artists in the exhibition through sales and fundraising efforts. Works in the show are available for purchase (like a normal exhibition), but friends can also give to the UnBound! Fund, which will be used by the gallery to acquire select works for the growing Candela Collection. One day, this collection will be donated to the permanent collection of a notable arts institution. This year, Candela excited to offer an honorarium + 2026 exhibition to 1-2 UnBound14! artists with funds raised over the course of the exhibition.
SATURDAY, AUGUST 2ND, 7-11PM:
THE ANNUAL FUNDRAISING GALA.
This year’s theme is A Midsummer Night’s Fever Dream, which you can learn more about here.
PHOEBE SHUMAN-GOODIER | AUSTIN, TX
Pink, 2024,
Archival Pigment Print,
19 ⅞ x 24 ⅝ inches framed.
Edition #1 of 10.
$2,000
The woods surrounding Shuman-Goodier’s childhood home conceal over thirty cars, a bus, a bread truck, and many sailboats. Inside, three stories are packed floor to ceiling. Her father’s hoarding disorder began after her parents’ divorce when she was eleven, and the junkyard grew with her.
The ongoing series “Bad Dogs” centers around her visits to her childhood home-turned-junkyard over the past decade. In the beginning, she haunted the property like a ghost, photographing scenes of objects that felt both familiar and foreign. The land holds a geological timeline of my family history, and she dug for artifacts of identity in the strata. She shifted her attention to her dad out of a desire to be more present and rebuild their relationship. His ever-growing accumulations pushed them apart when she was a teenager, but together they found a way to creatively navigate their greatest barrier. His enthusiasm to make art together is an act of love that she holds protectively.
The artist and her father construct and dismantle ephemeral assemblages from the debris, transforming obstacles into a shared artistic language. Each piece is intuitively constructed based on form and color, relying on a careful balance to stay together. This practice creates a non-judgmental space for them to work together. The duration of this project exposes the brevity of human time, reflected in the evolving lines on our faces, set against the enduring presence of the materials on the property. Their collaborative portraits now show their morphing roles as father, daughter, friends, and caregivers. Bad Dogs is our ongoing commitment to art and each other. It serves as a cathartic tool for reciprocity, celebrating our evolving relationship and the power of art to repair and heal. She shares their story to honor my her dad, their journey, and what they continue to build.
Phoebe Shuman Goodier (she/they) is an interdisciplinary artist from Rhode Island. She holds a BFA in photography from the Rhode Island School of Design and is a current second-year graduate student in the MFA program at the University of Texas at Austin. She is the 2023-2025 recipient of the Russell Lee Endowed Presidential Scholarship in Photography and the 2023-2025 William and Bettye Nowlin Endowed Presidential Fellow.
Much of Phoebe’s work emerges from her intimate relationships and connection to her childhood home-turned-junkyard. Phoebe approaches accumulation, waste, and debris from the perspectives of art, hoarding disorder, and American consumerism. Her practice is a cathartic tool that she uses to navigate life. This involves serious play; transfiguring trash, observing breakdowns of value, negotiating function, and making magic from the everyday. Phoebe believes in the power of collaborative art making to demonstrate alternatives and create new paths that challenge the status quo. This can range from reconsidering responses to mental illness and repairing relationships to reclaiming agency within alienating systems.
MARC SIRINSKY | LEESBURG, VA
About to Cover, 2022,
Inkjet print on Dura-Lar film,
17.75 x 14.5 inches framed.
Unique.
$550
This series of work showcases an abstracted view of the natural world through a unique process of printing onto Dura-Lar polyester film. The results are one-off images that strip the visual plane down to its essential elements. Otherworldly and often organic in appearance, these works reflect a unique point of view - one where our environment is perceived through little more than color, line, and shape. Not unlike a memory or a clouded glimpse, the luminescence of these vignettes brings to bear an emotional power where finer contours are replaced by a more refracted view of human perception.
Marc Sirinsky has been actively photographing since the age of 8 - when he borrowed his aunt’s Nikon FE2 during a trip to the zoo…and then refused to give it back. He went on to graduate with honors from the Stamps School of Art and Design at the University of Michigan in 1997 and since then, his work has been included in over 70 juried, solo and group exhibitions and has appeared in publications like F-Stop Magazine, The Hand Magazine, and Photographer’s Forum. His art has also been shown in numerous museums, including the Attleboro Arts Museum in Attleboro, MA, the Bonita Art Museum in Bonita, CA, and the Bristol Art Museum in Bristol, CT.
Marc’s work can also be found in the permanent collections of The Griffin Museum of Photography in Winchester, MA and the Harold Washington Library Center in Chicago, IL.
Throughout his career, Marc has focused on alternative process photographic art; incorporating a combination of both traditional and contemporary methods to address issues of beauty, memory, childhood, and mental health. These concepts are often communicated through unconventional approaches to landscape imagery – resulting in a unique perspective on the natural world. Originally from the Chicago area, Marc currently resides in Leesburg, Virginia – just north of Washington, DC.
ANTHONY EARL SMITH | RICHMOND, VA
Self portrait with Staples, 2025
Archival Pigment Print,
22 x 18 inches framed,
Edition #1 of 5.
$1,000
This work began as a way for Smith to think about healing and human connection to nature, in particular the way we cultivate the earth- through small actions; backyard gardens, or worn paths in a lawn. Healing, of course, takes time- measured linearly in the changing of seasons. Spring forward, unless we fall behind. Time spent in a garden though is circular not linear, waiting years for fruit to bear, while the trees and structures we plant and build will likely outlive us. The camera on the other hand arrests time, silently and precisely.
There is always hope in the planting of a seedling, much care in the tending, and surrender to the fragility of it’s existence. The artist’s own garden is a studio of construction, and manipulation; documentation of found scraps and scars, making the most of time and always believing in the hope of springs to come.
Anthony Smith is a photographer living and working in Richmond, VA. He received his BFA in photography and digital media from the University of Georgia in 2007 and and MFA from Virginia Commonwealth University in 2015. He has work in the permanent collection of The Georgia Museum of Art and The Sir Elton John Collection.
DONNA SOO | AUSTIN, TX
Mineral Cassette Radio, 2022
Archival Pigment Print,
27.5 x 21 inches framed,
Edition #1 of 8 + 2 AP.
$2,000
Soo creates sculptures and arrange them in tableaus, which she then photographs. She is interested in contrasting natural forms and the music they stimulate for her in the context of our manufactured environment. She draws from her background in sculpture to create subjects in various materials, primarily from fired clay – which contain minerals same as those found in rocks and fossils. Rocks, fossils and the plant life trapped inside them inspire in her to reflect in photographic form how she feels holding them in her hand, for the ones she owns, or holding others in her mind as jumping off points to contrast the span of her life to the deep time visible in them. For the radio series project, she photographs sculptures she makes in response to how the rocks, fossils and landscapes reverberate for her through synesthesia. Her experience of synesthesia allows her to interpret novel sounds as shapes. She is stimulated by the sounds of certain landscapes, in particular the ancient seas, volcanic formations and erosion of Far West Texas desert landscapes which she interprets as radio forms in the photo series.
Donna Soo was born in Queens, New York in 1964. She received a BFA in sculpture from the University of Texas at El Paso in 1991 and an MFA from Cranbrook Academy of Art in 1993, also in sculpture. She seeks to contrast the contemporary world with the deep time visible in rocks and fossils. Donna lives in Austin, Texas and is a student at the Austin Community College studying fine art photography. She recently participated in an artist residency at the Willow House in Terlingua, Texas, in July of 2023. Terlingua and the Far West Texas geologic landscape are an inspiration because of the deep time story of ancient shallow seas, volcanic activity and erosion.
TYLER STOLL | AUSTIN, TX
Danny Displacement (Rangeland), 2024
Archival Pigment Print,
19.5 x 26.75 inches framed.
Edition #1 of 10.
$600
This body of work, titled Man on the Land, is inspired by land artist Robert Smithson’s Mirror Displacements. In these works, Stoll has swapped the mirrors with homemade cardboard cutouts of Danny Zuko from the 1978 musical film Grease. Installed and photographed during a residency at the Ucross Foundation, a working cattle ranch on the High Plains of Wyoming, these works poke fun at romantic narratives of The American West, “Finding Oneself in Nature,” and the (seemingly masculine) urge to place large rectangular things in the landscape.
The "Danny Displacement" series are digital photographs of the same seven cardboard cutouts placed in the landscape surrounding the residency grounds. These are direct references to the "Mirror Displacements," which used mirrors to disrupt the solidity of the landscape they were installed in.
Tyler Stoll is an interdisciplinary artist working across sculpture, performance, video, writing, and social practice. He holds an MFA from the University of Oregon and a BMus and BA in French Horn Performance and Environmental Studies from Oberlin College. Formerly a ceramicist and jeweler, Stoll also completed the Core Fellowship at Penland School of Craft in North Carolina. He now lives and works in Portland, OR.
In his recent work, Stoll reanimates Danny Zuko, the iconic leather-clad heartbreaker from the musical film Grease, to test the durability of normative, nostalgic masculinities, while offering flaccidity as an alternate emancipatory narrative. This is based around a manifesto Stoll wrote, titled "the future is flaccid", which redefines “flaccidity” as a political orientation employed through an exploration of language, materiality, and embodiment to undermine patriarchal masculinity and the systems of domination it upholds.
ELIZABETH STONE | GREENOUGH, MT
Oil and Land #12, 2024,
Chemigram print construction on gelatin silver paper,
19 x 23 x 3 inches framed.
Unique.
$1100.
Using the chemigram process, Stone creates dimensional topographic abstractions on silver gelatin photographic paper with petroleum products. Decades of closely observing the transformations of the Western landscape guide her hands in the process as she sculpts and forms the paper. During development, she uses motor oil and synthetic sprays to make irreversible disturbances on the paper much like the permanent marks left on the land from our current extractive industries. Once dry, she rips the paper then reassemble the torn layers creating patterns suggesting geologic rock strata. The resulting constructed photographs reference our insatiable greed for resources while at the same time longing for beauty.
Elizabeth Stone is a Montana-based visual artist exploring potent themes of memory and time deeply rooted within the ambiguity of photography. Stone’s work has been exhibited and is held in collections including the Museum of Fine Arts, Houston, TX, Center for Creative Photography, Tucson, AZ, Cassilhaus, Chapel Hill, NC, Candela Collection, Richmond, VA, Archive 192, NYC, NY, Nevada Museum of Art Special Collections Library, Reno, NV and the Yellowstone Art Museum. Fellowships include Cassilhaus, Ucross Foundation, Jentel Arts, Willapa Bay AIR, the National Park Service and the Virginia Center for the Creative Arts through the Montana Fellowship Award from the LEAW Foundation (2019). Recent awards include the Arthur Griffin Award (2024), the inaugural Critical Mass Archive 192 Award (2023) and the Photolucida Critical Mass Top 50 (2022). Process drives Stone’s work as she continues to push and pull at the edge of what defines and how we see the photograph.
JP TERLIZZI | SOMERSET, NJ
Cherries in Flamboyant Fuchsia Violet, 2025
Archival pigment print, dye sub, painted frame.
19 x 15.75 inches framed,
Edition 1 of 10 + 2AP.
$3,000.
Color vision is shaped by specialized pigments in our eye’s cones, which detect red, green, and blue light. These signals are processed by the brain, allowing us to perceive thousands of colors. However, Terlizzi was diagnosed with Strong Protan or Protanopia color blindness as a child, which means he has reduced sensitivity to red light. This type of red-green color blindness, which affects around 20% of people with color vision deficiencies, limits his ability to see only 2-3 distinct hues, compared to the seven hues perceived by those with normal color vision.
He often finds humor in his condition—people are usually surprised when he tells them he is color blind. While Protan color blindness has certainly presented challenges, particularly in his roles as a photographer and creative director, it has also shaped a unique perspective on how he sees and creates. Distinguishing between blues and purples, greens and browns, and pinks and grey can be a constant struggle, but this limitation compels him to explore color in ways others might not.
Drawing inspiration from the color and light principles of Bauhaus Design and the Munsell Color Tree—a model that organizes colors by hue, value (lightness), and chroma (intensity)— he reinterprets the Ishihara colorblind test and create new patterns, carefully considering the hues, values, and chroma he perceives when viewing my image. By combining image and pattern, he juxtaposes colors to explore the relationship between what we see, what we believe we see, and how we recognize and perceive color. To further enhance the experience, EnChroma colorblind eyewear is paired with the images, assisting those with red-green color blindness in perceiving a broader spectrum of colors and enriching their visual experience.
JP Terlizzi is a New York City metro-based photographer whose contemporary practice explores themes of memory, relationship, and identity. His images are rooted in the personal and heavily influenced by the notion of home, legacy, and family. He is curious about how the past relates to and intersects with the present and how the present enlivens the past, shaping one’s identity.
Born and raised in the farmlands of Central New Jersey, JP earned a BFA in Communication
Design at Kutztown University of PA with a background in graphic design and advertising.
He has studied photography at both the International Center of Photography in New York
and Maine Media College in Rockport, ME.
JP’s highly acclaimed still life work is known for its distinctive use of style, pattern, texture, and color. He uses food and objects that serve as memories linked to a foundation in family tradition, history, and culture. His work has been exhibited extensively in galleries and museums across the United States and internationally.