For Almond’s ongoing Full Moon series, his arduous excursions to these remote locations are dictated by lunar pull. Each image was shot during the peak of the moon’s cycle — the precise place and moment, imbued with mysticism and ritual, is captured in prolonged exposure, collapsing space and time with an eerie ambience of predestination.

Quinn’s practice poignantly articulates the liminal spaces between life and death, the physical and metaphysical, supreme beauty and silent unnamable horror. In Quinn’s still life paintings, memento mori portent gives way to the spell of instant gratification: fruits and florae rendered with too-immaculate finish, their exotic bounty epitomizes pornographic temptation. Through the meticulous presentation, materiality, and detail of his works, the pinnacles of artistry become conveyors of vanitas, bridging the gulf between unattainable desire and longing and its luxurious, bitter sweet sublimation. His accompanying flower sculptures similarly dazzle with their strange virtuality, their exquisite ephemerality implausibly immortalized in bronze.