Hembrey rose to fame following the release of the 412-page exhibition catalog, “Seek: 100 in 2011 – The Inaugural Biennial” which featured the work of 100 artists included in the show. The twist is that Hembrey concocted all 100 imaginary artists, their life stories and their artwork. He works adeptly in a variety of media, from painting and drawing to sculpture and installation, so was able to masterfully manage this somewhat Sisyphean feat. Included in “cycle” are samples of his work that focus on the overall structures of nature.

Hembrey will provide an artist’s talk at BAM on Thursday, March 30 at 3 p.m. and Saturday, April 1 at 12:30.

Shea Hembrey, cradle, 2013, beetle wings, aluminum and glass, 20 x 20 x 3.25 inches, detail
Courtesy of the artist

Palmer’s drawings are of champion Arkansas trees. A state champion tree is one that has been officially recorded and measured and is deemed to be is the largest of its species in that state. What began as a drawing of an oak in Texas has turned into a chronicle of the artist’s journey through Arkansas. Her goal is to locate and render the biggest, but not always the oldest trees the state has to offer.

Linda Williams Palmer, Post Oak (Quercus Stellata), 2011, Prismacolor on paper, 27 x 37 inches

Courtesy of the artist and DRAWL Southern Contemporary Art, Little Rock

Salvest, an artist best known for text-based assemblage formed from an obsessive accumulation of ordinary materials, has quietly been creating rubber stamp drawings for the past few decades. What began as a play on words, he devised and produced a “tree” or a rack to hold rubber stamps of hand drawn images of individual tree leaves. While experimenting in the studio he realized he could recreate full trees solely from the use of one small and held tool.

John Salvest, Tree of Trees, 2013, vintage metal stamp rack and rubber stamps, 14 X 10 inches

Courtesy of the artist and Morgan Lehmann Gallery, NYC

Hogan is an experimental artist working in film and sound. Originally from Arkansas, this Seattle-based artist will exhibit “Silent Forest,” the first chapter from ec(h)o, a series of non-narrative experimental films and meditative installations that document and explore man’s often tumultuous and strained relationship with the landscape. Seeking out endangered thresholds, the installation explores the sonic events within a delicate wetland environment in the Mississippi Alluvial Plain and the industrial and commercial enterprises surrounding it.

Adam Hogan, Silent Forest, 2017, sound and video installation.

Courtesy of the artist

Green is a homesteader and master weaver. From raising sheep and growing cotton to spinning fiber and harvesting plants for dyes, her handwoven textiles are intense labors of love that integrate her life and work. Her contemporary heirlooms are functional, beautiful works of art inspired by American craft heritage and what she terms, “traditional women’s work.”

Green will provide an artist’s talk at BAM on Tuesday, April 11 at 3 p.m.

Jessica Green, Woven Panel 1, 2016, cotton dyed with homegrown indigo, madder and black walnut, detail

Courtesy of the artist

“Judy Crook 5,” is from a series of tree dedications that Steinkamp has produced to honor teachers she has known. This dedication is a projection of a tree that cycles through the seasons, from spring buds to full foliage of summer, into the autumnal change and through the bare winter, then back to spring again. This continuous loop allows the viewer to experience a whole year in just a few minutes.

Jennifer Steinkamp, Judy Crook 5, 2014, video installation, Edition of 1, AP1

Courtesy of the artist and Lehmann Maupin, New York and Hong Kong