My practice is rooted in the resourceful legacy of immigrant hustlers, which has compelled me to not only collect but also corrupt and alter this junk to amplify the power dynamics inherent within. I created New World from my perspective as a first-generation Guatemalan-American woman, reinterpreting what it means to take up space in an emblematically American vacationland and repurposing the trauma and humor embedded in found objects. It is a story written collectively and trans-historically in response to contemporary anti-immigrant sentiments; it is made in honor of child immigrants, resilient dreamers, and the ones getting swept away, around and through the mess highlights the confusion, pride and resiliency of first-generation Latinx women.

​The untitled series of watercolors depicting rocket launches from U.S space stations is a body of work that reflects my encounter with the U.S society. The watercolors show colorful and blurry images of what it is an expansionist aim; the hidden nature of rocket launches. The unclear appearance of the watercolors emulates the turbulent motive behind the spectacle.

Psychic Jacuzzi is an artist takeover account on Instagram which features different contemporary artists each week. Founded in 2017 by Matthew Drennan Wicks, Psychic Jacuzzi has hosted over 100 artists through this digital residency. Artists are selected through an open call and invitational process, at times coinciding with an external exhibition, which serves to promote the event and the artists’ overall practice. This exhibition will highlight a handful of local and national artists, further expanding the scope and reach of this Tampa based curatorial initiative.

Karen Tauches is an artist, designer, and curator based out of Atlanta, GA. Using photography and graphic design, her work focuses on clashes and connections between the commercial and Natural worlds.

‘Let the wind carry us’ is an exhibition of site-specific works and murals by the artist. Downs' drawings and prints are figurative and surreal. They depict human beings participating in a dream-like, fantastic world of activities.

Jenn Ryann Miller explores materiality and aesthetics through abstract sculpture and painting. With a background in functional ceramics, her work subverts tradition and process through experimentation with oblique materials and forms. Miller has been part of numerous solo and group exhibitions in Florida and the United States. Originally from Connecticut, she received a BFA from the University of Connecticut and MFA from the University of South Florida. Miller currently teaches ceramics and foundations at the University of South Florida, University of Tampa, and Hillsborough Community College and is currently a member of QUAID Gallery.

The exhibition embodies notions of disorder through man-made construction materials that challenge their conventional context, setting, and function. I hope to inspire reflection on the role of perception when understanding utility and entropy. The materials will reiterate a sense of irreversible change through physical manipulations and forms installed throughout the space.

These art works are about the structure of object acquisition from the 17th century to present day. From their design, in the materials and their creation, through production, and within delivery methods, the European implementation of brutality and hard power has been coded into art and decorative vessels as an imagery of success and wealth. GUCHI is a brand created by the artist to better investigate the visual language and impact of this brutality through an investigation of utilitarian objecthood, image making, and desire.

TEMPUS PROJECTS is pleased to announce their summer juried exhibition. ‘DARK AND FULL OF FLOWERS: Secundo Sunistra’ is a multi-media, juried art exhibition focusing on theme of the sinister side of the Sunshine State. The word ‘sunistra’ is a portmanteau of "sunshine" and the Latin word "sinistra" and reflects the often idyllic/nightmarish dichotomy Florida embodies in its natural, social and political climates.

Tempus Projects presents Anatomy of a Mesh, a group exhibition featuring works by Kayla Mattes, Robert Otto Epstein, Victoria Palombit, David Schiesser, and Amber Tutwiler, curated by Christina Humphreys. Through technology-enabled experimentation and a diverse range of practices, including drawing, painting, photography, video, and textiles, each artist navigates the screen as a source of aesthetic inspiration and existential quandary. In reframing the body within the sleek enclosures of software interfaces, these works amplify the irregularities native to digital representation.

Tempus Projects presents Oh! Mary Mary Mary, a solo exhibition by Tampa based artist Will Douglas. Oh! Mary Mary Mary is an exhibition of works by Will Douglas made in response to the ways in which spontaneous screen-based collage influences and complicates our perception of the 3-dimensional world. In these works, religious imagery and ritual objects serve as a vehicle to speak about the construction of an experience economy at the intersection of consumerism, masculinity and devotion. Oh! Mary Mary Mary features sculptural collaborations with Matthew Drennan Wicks which allow the photographic language to speak, not only through the lens but also through the object. With these works the photograph returns to a form that references the history of western functional object making.

The exhibition features McCarty’s new body of drawings that examine the intersections and contradictions of temptation, competition, and irreverence. The pieces feature passive and active depictions of growth and conflict, culling from sources such as plant propagation, mixed martial arts, and weaponry. Through the fetishizing and fusion of these figures and objects, she restructures the them to blur the line between the revered and impure. Lines and layers featuring composite and grafted forms serve to track and dismantle tropes of structure and muscularity and their dispersal across popular culture to reach the apex of danger and sensuality.

Penumbra /pəˈnəmbrə/ (from the Latin word paene "almost, nearly") is the region in which only a portion of the light source is obscured by the occluding body. Penumbra: Corridor of Ambience is the 6th and most significant Central Florida based site-specific installation, featuring geometric aerial sculptures representing La’ford’s focus on how light ripples in space, the metaphysics of illumination, and the emotive responses to sound and time. Inspired by sacred spaces, patterns and place, La’ford’s installation invites viewers to activate both space and senses through a whimsical array of intersecting geometric forms. Fascinated by paths of light, La’ford’s lined encased environment is an echo of her interests in a concept she coined as geometric-lineage; a parallel sense that each line exists as a compatible path that defines each individual’s intersected human experience.

“The word swamp conjures up for me the most primitive of space(s). The original birthplace of humans, the “swamp” is a mythical environment of witches and scaly creatures not quite human, a home to many slimy reptilian forms, mosquitoes, decomposing bodies, bugs, butterflies, and small to gigantic snails. It is fecund, noisy, silent. These paintings were made to convey the beauty I see in all of it. My observations of events I have witnessed in many walks through swamp-like land plus a little imagination ignited by folk lore, movies, novels, are the focus of this small body of work.” -Diane Elmeer

Tempus Projects presents Misty Krystals, a collaborative exhibition of recent works by John Byrd, Ben Galaday, and Roxanne Jackson, in our project space gallery. This collaboration is inspired by mystical curiosities, the macabre, and the sea.

The inspiration for this exhibition is a series of Polaroid photographs taken in 1998 of the artist laughing in close proximity to the camera. An exploration of notions of the unruly woman and the subversive power of women’s laughter, Babcox reimagines this imagery in the context of large-scale, heavily saturated prints. Inspired also by the writings of Hélène Cixous, and Mikail Bahktin’s notions of the carnivalesque, Babcox explores how women’s laughter proposes a potent form of resistance, subversion and provocation. A recently naturalized American citizen, Babcox considers the potential for a woman’s voice and its possible allegiances. The images hold the latent voice of their protagonist, but also perhaps a rallying cry or a rousing tune in solidarity. They are a joyful expression of impropriety, mischief and unity and suggest voices raised in conspiratorial harmony. And the beat goes on…