Narciso Argüelles is a Chicano artist and art educator. Argüelles grew up in Tijuana, Mexico which had a lasting impact on his life and continues to inform his art. During his college years, Narciso started collaborating with the world renowned Border Art Workshop. He holds an MFA from the University of California, Irvine and upon graduation started working as an admissions counselor at Art Center College of Design in Pasadena, California. Eventually Mr. Argüelles moved to Oklahoma where he has enjoyed being a high school art teacher and professor. His travels included a three year teaching stint at Robert College in Istanbul, Turkey. His educator endeavors also include working with the College Board with their AP Art and Design program. As an artist, he has exhibited at the Sydney Biennale in Australia; The Johannesburg Biennale in South Africa, Los Angeles Contemporary Exhibitions, Oklahoma Contemporary Art Center and Intar Multicultural Art Gallery in New York City. As a curator, Narciso Argüelles has put together exhibits for Norman Firehouse Art Center, the UCO Boathouse Gallery, Little D Gallery in the Paseo and at Robert College in Istanbul.

Anna Smist is a member of the Sac & Fox Nation of Oklahoma, Deer Clan, and is also of Seminole and Mvskoke descent. Having grown up in Norman, Smist started out in curating with Misunderstood!: Indigenous Art and Poetry as Political Resistance at the Fred Jones Jr. Museum of Art in 2019. Misunderstood! brought together 46 works of art and 17 poems by North American Indigenous artists/poets who each refuted and complicated popular culture's understanding of contemporary Indigenous peoples. Since then, Smist has worked as a college admissions counselor and also prepared the curatorial statement for TATAKWI 2024. Curated by Sauk artist Tony Tiger, TATAKWI 2024 brought together 16 Sauk artists to show during the 59th Annual Sac & Fox Powwow in Stroud. Currently, Smist is a Curatorial Assistant at the First Americans Museum in Oklahoma City and supports the Curatorial Department in exhibitions, research, and publications all related to the 39 Tribal Nations of Oklahoma.

Theater of the Everyday: An Introspective Exploration of the Mundane

Theater of the Everyday: An Introspective Exploration of the Mundane will feature three large-scale narrative self-portraits, alongside a series of portraits of individuals who hold significance in Michele's life—family, friends, and those who have profoundly influenced her journey as an artist. By exploring Michele's own intimate connections to the mundane, this body of work seeks to explore the complexity of the shared human experience, beyond a digital outlook. Each self-portrait will serve as a stage where her personal narrative unfolds, capturing the complexities and nuances of identity, while the accompanying portraits will highlight the relationships that have shaped Krystal's artistic perspective. These works will invite viewers to reflect on the often-overlooked stories within their own lives, encouraging a deeper appreciation of the everyday interactions that define us.

In Flux

In Flux is a motorized wave-machine concept. A pure reflection of everything Benjamin has to give to his craft, this standalone kinetic art piece will showcase ambitious new ideas in form, function, and medium that diverge from his existing body of work. The name “In Flux” is inspired by both the entrancing path that the wave of brass wanders and the symbolic form that the sculpture resembles as a whole. The path of movement is based on a physical phenomenon I noticed early on in my wave-machine practice; where under the right conditions, a second wave based on friction is formed when you turn the central spiral in one direction, but there is no movement when you turn the spiral in the other direction. This can be observed in “The Crawling Palace”. However, when this phenomenon is fully embraced, the entire wave can cascade from one side of the sculpture to the other based solely on the direction the central spiral turns. This is showcased in “Return to Sender” and is the style of movement that Benjamin am basing In Flux around. The primary structure of Benjamin's wave machines has only ever been aluminum or steel wire, but for the first time, he will be opting for the use of tensioned black nylon fishing lines instead for both function and design-based reasons. Since there needs to be a support structure for the line to be properly tensioned, an arch system made using black walnut and brass will compose the form of In Flux with design inspiration taken from the traditional Japanese torii gate. The Torii gate symbolically marks the transition from the mundane to the sacred, which is an idea that Benjamin is trying to emulate with this project. The premise behind wave machines is inherently transitional and fluid, and through movement, he tries to add a level of elevation and mystification to simple raw materials. Completion of this project relies firstly on an exhaustive testing phase. Using a modular testing board, Benjamin can isolate each working component and dial in the exact dimensions and materials that will ensure the most consistent final results. He can also use this board to test motor functionality and find out how to house electrical components with a minimal footprint. Having function-based design requirements that are determined through the testing phase allows for a structural blueprint for the piece with an understanding of where Benjamin still has creative flexibility in building a visually dynamic and elegant sculpture. He considers this piece to be a stepping stone in his artistic journey, and its completion will test everything he has learned up to this point and push him to grow as he embraces new design challenges. While the conception of "In Flux"" was born through ambition, Benjamin knows that he has the resolve and willingness to learn that is needed to see it through.

middle space

Amplifying the cultural realities of identities, languages, culture, and pride, the exploration of the strength of being in the middle space is the central focus of Solis’s work. This series will add to the expanding story of underrepresented identities and their experiences. Utilizing a representational approach, Solis depicts recurring themes of celebration, spirituality, and femininity. Oil is the driving medium in Solis’s figurative work. Solis depicts her life experiences with themes of identity, heavy symbolism, and a surreal sense of traditional Hispanic color schemes that expand into murals and installations. In this series, Solis will develop three figurative oil paintings paired with an interior dining room installation. The driving focus of the three paintings is the female and male figures in social gatherings in interior and exterior settings. The paintings will visually display juxtaposed scenarios of both American and Mexican cultural aspects that are depicted through nature, sentimental items, and parlor games. Solis’s object for these paintings is for the viewer to respond through familiarity, enriching color, and curiosity. Solis’s paintings will embody the middle space of the Mexican American gaze, with an interactive interior dining room setting. The installation will allow the viewer to step into a painted dining room area where the viewer can interact within the space. Stepping into the room, the table and chairs will be fully painted with the curtains as the backdrop. Smaller home décor items, such as vases of flowers, guitars, cups, plates, and fake food, will also be painted. These small items will be reinforcements in capturing the dining room setting. Solis’s vision for this installation is for the viewer to have stepped into a painting. The viewer has now become the focus of the installation, relating to the focal point of a painting. The game loteria (traditional bingo card game) will be placed in the center of the installation where the viewer can play the game within the work. This allows the viewer to relate to the space and have a further understanding of the series of works. Solis hopes that her work can transcend time, language, and cultural boundaries to the viewer.

Sheila Guffey is a dedicated teaching artist and consultant with a Bachelor of Fine Arts and a Master’s of Adult Education focused on Gerontology. With over 14 years of experience, Sheila has developed and led specialized art programs and community outreach initiatives for senior adults in Oklahoma. She brings her expertise to senior living facilities including assisted, nursing, and memory care centers where she teaches a variety of fine art mediums. Sheila creates a supportive environment, making art a journey of healing during difficult life transitions. Her blend of therapeutic techniques fosters empowerment while providing joy and inspiration.

Zachary Hunter is an Oklahoma born and raised who currently resides in OKC. Prior to starting his career in higher education, he was a freelance photographer who participated as an artist in MOMENTUM for many years (2015, 2017-2019). He is passionate about highlighting local art and bringing awareness to OVAC. He is a current member of Leadership OKC's LOYAL Class XIX and previously participated as a committee member for the OVAC 12x12 Art Fundraiser.

Zoe Elrod has been a member of OVAC's MOMENTUM committee for the past two years. A graduate of Oklahoma City University with a degree in Mass Communications, she has worked as a writer and reporter for KOSU Radio, Make Oklahoma Weirder, and The Gayly and continues to contribute to Oklahoma Today and Oklahoma City Free Press. Zoe is currently the Internal Communications Coordinator for the Metropolitan Library System. In her free time, she enjoys attending local concerts, filling her home with art, and spending time with her two dogs, Fred and Clover.