Patterns of Exchange brings together recent ASU MFA graduates, their faculty mentors, and artists from across the Valley whose practices are deeply rooted in the local creative community. The exhibition creates a dialogue across generations, practices, and materials while continuing to challenge conventional ideas of what corporate art can be.
Installed throughout the Goodmans showroom, the exhibition explores living systems through abstraction, memory, place, and material transformation. Across painting, works on paper, ceramics, photography, collage, sculpture, and digital media, the works move between rhythmic painterly environments, bold geometric structures, layered surfaces, and tactile forms.
Together, the works reflect on growth, movement, perception, ecological change, and the ways materials carry histories forward. Ceramic shards are gathered into new compositions, garden-inspired forms occupy the showroom floor, aerial views of altered land become abstraction, and collaged environments blur what is seen, remembered, and imagined.
Presented within a working design environment, Patterns of Exchange invites viewers to experience the workplace as a space for conversation, creativity, and connection, where art becomes an active part of the everyday.
When Observation Becomes Form
Patterns of Exchange
Ryan Greene
My work is rooted in the craftful uses of clay and the importance of utilitarian objects throughout history. I consider the interdependent nature of this world and create forms which connect to each other. This requires one to slow down as they unlock a lid, unstack a bowl, or twist a cup out of its holding place. These physical interactions drive my process with a focus on how the pieces function. A large part of my practice consists of formulating recipes for clay bodies and glazes to achieve my surfaces, and I utilize wheel throwing and coil building techniques to create organic forms and multiples.
Inspired by the Arts and Crafts Movement, my utilitarian wares can simultaneously act as an element of design. I urge people to utilize these seemingly decorative objects, and I believe this will form a deeper connection to one’s surrounding environment. I find similarities in how plants are both decorative and edible and connect functional pottery with fruits and flowers to raise questions of how we design the landscapes around us. My work rewards curiosity and physical interaction by offering surprises to those who dive deeper, so I encourage participants to fill these wares and share moments together.
Casey Farina
My work lives at the intersection of synesthesia and indeterminacy—exploring how sound and image blur together, and what happens when control gets loosened.
Indeterminacy is the thread running through all of it. I build systems and algorithms that I can set in motion but can't fully predict. The outputs surprise me—they head into territory I couldn't have planned. That's the experiment: designing frameworks that generate something genuinely unknown, then discovering what emerges alongside the audience.Casey Farina is a Phoenix-based artist known for audio/visual works created through iterative computer processes. His practice draws on animation, sound design, visual effects, digital fabrication, and improvisation—all coming together in video sculptures.
Beyond the gallery, Farina creates commissioned public artworks throughout the Valley, including interactive projection-mapped pieces that transform urban spaces into immersive experiences. His animated-graphic scores have been presented internationally, and in 2019 Phoenix Magazine named him Best Multimedia Artist. He's received support from the Contemporary Forum Emerging Artist Grant, Canal Convergence, Arizona Commission on the Arts, and the Atlantic Center for the Arts.
Future Retrieval
Future Retrieval, founded by Guy Michael Davis and Katie Parker in 2008, re-examines and disrupts the history of decorative arts through the excavation and empirical study of digital archives and museum collections. Taking objects held in institutional collections as its starting point, Future Retrieval investigates global patterns of transmission and dislocation across cultures and times, both with respect to an object’s iconography, materiality, and utility, and concerning its eventual path to the archive or museum collection.
The collective uses contemporary methodologies and approaches (including digital scanning) to create works across many mediums, including sculpture, textiles, wallpaper, installations and beyond. Their work speaks to the wonders of the past while simultaneously addressing imbalances of art history that too-often neglect so-called decorative or minor arts. Through objects that may initially appear functional in form, Future Retrieval reconsiders the tensions among contemporary art, craft, and design, subtly yet critically subverting the implied hierarchies among these fields.
June 2026
Fruiting Cup Bush #2, Fruiting Cup Bush #3, Fruiting Cup Bush #6, Young Cup Bush #5, Young Cup Bush #8
Stoneware and glaze
Fruiting Cup Bushes $2,800 each; Young Cup Bushes $280 each
Traverse 3, 2026
Video and laser cut acrylic
62 x 35"
$7,000
To inquire about the artists or their work please contact:
Logan Browning Mandes
Browning Art Advisory
520.465.4067
logan@browningartadvisory.com
Browning Art Advisory helps collectors, corporations, and estates navigate the art world with clarity and confidence. With over 15 years of expertise in both the primary and secondary markets, we provide personalized guidance through every stage of building, managing, and refining a collection. Our approach is rooted in deep market knowledge, curatorial insight, and a genuine passion for connecting clients with art that resonates.
Us, 2021
CNC milled maple and aluminum leaf
32 x 26 x 34"
$9,500
Functional Hedgerow, 2026
Porcelain and glaze
66 x 72 x 20 inches (including pedestal and bowls)
$8,000
William Lesch
I live and work in an adobe home, studio, and courtyard/gallery I built myself, by hand, in downtown Tucson. I have lived in this home for over 35 years, putting down roots, raising a family, living in place much as my barrio neighbors have for generations. I have learned the names of the plants, the animals, the stones and the watersheds of my homeland, have studied the light and the changing seasons. My art is about this place, an affirmation of life in one place on earth: the Sonoran Desert Bioregion. Our culture has forgotten how to talk to trees, how to sing to stones and saguaros. I have spent a good part of my life walking the desert, kayaking it’s rivers, sitting by it’s streams, listening to those forgotten songs. The songs are of rainclouds forming over a parched land, of new life amid the dry shards, the bones of fallen cactus, of deep canyons, forgotten caves, windswept shores on the Sea of Cortez.
Copper and Brown Tailing Pond #40, Silverbell Arizona, 2017
Mixed media direct print to paint with archival pigment inks on copper panel with UV varnish
36 x 48"
$5,000
Kathryn Maxwell
My collages represent the space between what we see and what we remember, between the places before us and those we carry within, where the world outside and the world within become one. I'm interested in the permeable boundary where lived experience becomes embedded in memory's visions and narratives. I draw from ecological phenomena: the constant flux of currents through water, the vibrant sunsets of my home, the interplay between human activity and the environment. My palette reflects the richness of these hybrid environments and the freedom of unrestrained memory.
Embedded within my work are traces that all places emerge from ongoing interactions between human activity and the environment; place is already a hybrid assemblage. Shaped edges open the work physically, inviting viewers to enter and move within it, a formal echo of the permeable boundaries the work explores. Hand-printed, drawn, and painted collage elements allow for spontaneity that preserves the vitality of these spaces, where sensory perception and physical experience are reshaped by memory.
Tidal Bloom, 2024
Screenprint, relief, acrylic & color pencil collage on paper and Polytab
19.5 x 25.5"
$2,000
Invasive Species, 2025
Screenprint, acrylic & color pencil collage on paper and Polytab
42 x 33"
$4280
Brown Cloud, 2025
Screenprint, acrylic & color pencil collage on paper and Polytab
40.5 x 32"
$4,010
Shadows In the River, 2026
Screenprint, acrylic & color pencil collage on paper and Polytab
34.5 x 56"
$5,965
Mark Pomilio
My artistic interests are fueled by a desire to create artwork, which mirrors naturally occurring systems in our world. In “mirror” I am referring more to ideas regarding physical processes rather than mimetic duplication. I find inspiration on a myopic level by attempting to imitate cell repetition and cloning. I have chosen to create imagery, which expresses a developmental process rather than an overt visual depiction. The origin of this research has been formulated through a series of simple geometrical equations. These equations have yielded a group of “parent” rudimentary geometrical forms. One or several of these forms are multiplied and folded equally throughout the pictorial field. Through this process, a formal pictorial structure is born. Therefore, each image has evolved through the development of pictorial representations of geometric systems of growth. This “parent” form is representative and meant to emulate a single or multiple cells dividing and compounding into a complex organism. In many works, formal decisions are multiplied equally throughout the field, causing a type of visual unity. This balance and symmetry has a visual equivalency in how we read the meditative qualities of a reflective pool, or a religious icon. In the end, my goal is to force a harmony upon the image field that, in turn, forces a potential meaning through the integration of the image and title.
Originally from Philadelphia, Mr. Pomilio is currently living and working in Phoenix, Arizona. Where he is a Professor of Painting and Drawing within the School of Art, at Arizona State University’s Herberger Institute for Design and the Arts.
Untitled Yellow and Black, 2026
Oil on Canvas
52 x 48"
$14,000
Untitled Black and White Drawings, 2026
Mixed media on paper
30 x 26" each
$5,000 each
Rachel Rinker
Rachel Rinker (b. 1994) is a painter and musician currently based in Phoenix, Arizona. Originally from Goose Creek, South Carolina, Rinker earned her BFA in Painting from Clemson University in 2016 and her MFA from Arizona State University in 2026. She has been playing the flute for over 20 years, and is currently part of the Desert Echoes Flute (DEF) Project Flute Choir in Mesa, AZ. She premiered her first composition for six flutes, titled Yellow Breeze, during the PRISMS Contemporary Music Festival in 2024, hosted by ASU. Rinker uses abstraction as a way to relate emotional energy and sensory experiences into visual and sonic forms. She is interested in human perception and the evolution of our conscious minds as they relate architecturally to external environments and relationships. Rest balances musical, rhythmic, and painterly expressions in the unfurling of environments with layered personal history of place and human connections; reflecting life as it is experienced in a nonlinear fashion - like ever growing scrapbooks and run-on sentences of present (un)conscious moments - cyclical and always subject to change.
Rinker was awarded a Cafiso Somers Fellowship for 2026-2027 at the Rocking S Art Ranch in Phoenix, AZ. Rachel was accepted to attend an artist residency in Summer 2027 at Vermont Studio Center, Johnson, VT, and has attended other residencies including Arteles Creative Center, Finland (2025, 2023) and South Porch Artists Residency, Summerville, SC (2023). Recent awards include a Nathan Cummings Summer Travel Award (2025), Creative Constellation Grant through ASU (2026), and winning first place in art exhibitions at ASU's Change the World Event (2026) for a collaborative interactive piece with Kylar Garnder.
My Green Thumb Came from my Grandma, 2026
Oil on Canvas
52 x 88"
$7,000
Out of the Whistling Wind, 2026
Oil on canvas
52 x 66"
$6,000
It Takes Two, 2025
Mixed Media on Paper
17 x 30"
$1,200
In the Other Room, 2025
Mixed Media on Paper
7.5 x 14"
$900
Kendall Traylor
I work with clay as both a medium and an archive, creating terrazzo-speckled sculptures from recycled ceramic waste and discarded materials collected from the community. Through slow, physical processes of crushing, drying, pulverizing, and reforming, I transform waste into new clay bodies where embedded fragments remain visible as traces of memory and use.
Built through intuitive acts of thinking-through-making, the resulting works carry seams, folds, and raw textures as evidence of labor, care, and transformation. Emerging from walls, floors, and corners, they give form to both absence and presence. Having reclaimed and reprocessed thousands of pounds of clay, fired ceramics, paper, and drywall, my practice is rooted in bodily engagement and material play, honoring the permanence of ceramics while turning overlooked matter into tactile, voluminous forms.
Sherd Archive (Garfield), 2025-2026
Found ceramic and pins
56 x 62 x 6 inches
$3,500
