Mark Baugh-Sasaki (b. 1981, San Francisco, CA, USA) is a San Francisco-based interdisciplinary artist whose practice examines the relationship between people and place. Working across photography, sculpture, and site-based installation, he explores how cultural, historical, and geological forces shape the way we see and understand landscape – and how, in turn, those landscapes shape our understanding of ourselves.

Central to his work is a challenge to the boundaries we draw between the natural and the constructed. What we call “wild” or “untouched” is rarely either. Our perceptions of nature are filtered through cultural conditioning, historical narratives, and inherited assumptions. For Baugh-Sasaki, landscape is not a backdrop to human life but an active participant in it – a site of memory, experience, and ongoing transformation.

In recent work, he has turned to geology as a framework for understanding our place in time. Returning repeatedly to specific locations, he documents the visible effects of climate change, tracing both loss and resilience in shifting terrain. Rock formations, erosion, and the slow processes of the Earth become silent witnesses to human impact. These changes press against his own attachment to familiar places, raising questions that run throughout his practice: Can damaged landscapes be restored? What does healing look like in a world so vastly altered by human hands? And how must our perceptions evolve if we are to remain meaningfully connected to the land?

Baugh-Sasaki holds an M.F.A. in Art Practice from Stanford University (2017) and a B.F.A. from Carnegie Mellon University (2004). His work has been exhibited widely, including solo presentations at the Woods Institute for the Environment at Stanford University, the Brandstater Gallery at La Sierra University, and re.riddle in San Francisco, as well as group exhibitions at the Yerba Buena Center for the Arts, the Autry Museum of the American West, and the Headlands Center for the Arts. His work is held in public collections including the Los Angeles County Museum of Art (LACMA) and the Cantor Arts Center at Stanford University.

He has been recognized with residencies and awards from the Lucid Art Foundation, the Headlands Center for the Arts, the Djerassi Resident Artist Program, the James Irvine Foundation, and the San Francisco Foundation, among others. In 2018 he was an artist-in-residence at Recology San Francisco, and in 2024 he served as Visiting Artist at Stanford’s Doerr School of Sustainability. He has two public art commissions forthcoming through the San Francisco Arts Commission. His work has been covered by the San Francisco Chronicle, PBS NewsHour, KQED Arts, and Artillery Magazine, among other publications.

Find out more about Mark Baugh-Sasaki here.

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Kristiana Chan 莊礼恩 (b. 1993, Calgary, AB, Canda) is a multimedia visual artist from the American South based in the Bay Area. Her work examines the material memory of the landscape and the excluded histories of the Asian American diaspora. She researches the political, historical, and environmental heritage of the landscape and its material elements and organisms and incorporates their properties into her processes. She is interested in the relationships of themes of migration, labor, trade, and reciprocity with the natural world, challenging ideals of extractive capitalism and grounding her objects in material tactility to explore our future relationships with land, history, and resources. 

Her previous projects have focused on the lost stories of early Chinese diaspora settlers in California, and their connections to industries like fishing and mining. These stories, images, and references entangle the historical and mythological, while the gathered materials attempt to transcend gaps in the written record. Chan is interested in themes of science and speculative fiction, and the littoral coastal zones, gleaning ancient wisdom from environments that have adapted to rapidly changing conditions. 

She is a recipient of the Rydell Visual Arts Fellowship and has held residencies at Anderson Ranch Arts Center, ACRE, Tides Institute of Art and History, and Stelo Arts. She has shown at the Asian Art Museum, Montalvo Art Center, Bolinas Art Museum, Santa Cruz Museum of Art and History, Morgann Trumbull, SOMArts, Vessel Gallery, Kearny Street Workshop, and the Monterey Art Museum. Kristiana is currently an MFA candidate at the University of California, Berkeley (Class of 2026).

Find out more about Kristiana Chan here.

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Céline Ducret (b. 1992, Chardonne, Switzerland), lives and works in Geneva. She reflects on the human-made impact on post-industrial ecologies and their tangible traces. Her artistic practice acknowledges the inherent agency of the material itself and in her installations a change of state and scale occurs, between the monumental and the imperceptible, the tangible and the virtual—using textile, moving images, sounds, ceramics and writing. She develops alternative stories to enable new perspectives and develop spaces to reflect on the interactions of ecosystems, fluid borders, and transformative mutual relationships.

Céline’s work envisions a transition from a human-centered perspective to a multi-species worldview. As a method, the body is a central element in her work: it becomes a vessel for interpreting the interconnections between the beings that make up our world. Her research is embedded in a methodology that seeks to establish a conversation between more-than-human entities (water, clouds, insects, bacteria, etc.), a specific site (glacier, pasture, lake, etc.), and various holders of knowledge (artistic, scientific, mythological). By weaving these interactions together, her work aims to reveal the invisible dialogues that shape our environment and to imagine renewed ways of relating to the elements that surround us.

She graduated with an MA in Mixed Media, Textile and Cultural and Historical Studies from the Royal College of Art in 2019 and has developed a research methodology based on her bodily experience of spaces (field work) through the recording of images, sounds, and texts often in collaboration with hydrologists and glaciologists. In 2022 she was awarded the PolArts grant (art/science research) and collaborated with a team of hydrologists at the Swiss Federal Institute for Forest, Snow and Landscape Research (WSL) over a year, thinking about the hierarchy of knowledge. This research brought her to the Pamir mountains in Tajikistan as well as different glaciers in Switzerland. She also crossed the north Atlantic to Greenland on a solar motor-powered sailboat from Iceland over three weeks with the project MaréMotrice. 

In addition to receiving several project and support grants in Switzerland, she has presented her work in Finland, the UK, USA, and Switzerland. In 2024, she was part of the Klimat Biennale of Vienna with a research project in collaboration with the Institute of Science and Technology Austria (ISTA). 

Find out more about Céline Ducret here.

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Ana Teresa Fernández is an artist of fluencies. A student of linguistics, she speaks five languages. An artist of border erasure, she elevates the intersectionality of place, person, and politics to create a common human vernacular. Time-based actions and social gestures are her syntax. Land, history, gender, climate, and culture are her subjects. Performance, video, photography, painting, and sculpture become her dynamic tools of grammar. Through enacted narratives, she reveals all that too often gets lost in translation, becoming the literal embodiment of the stories that divide but also bind us as human beings sharing a planet of great fragility and beauty. 

Find out more about Ana Teresa Fernández here.

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Greg Niemeyer (b. 1967, Zurich, Switzerland) is a data artist and Professor of Media Innovation in the Department of Art Practice at the University of California, Berkeley. He is also the former director and co-founder of the Berkeley Center for New Media, where he helped build an internationally recognized hub for research, teaching, and public engagement at the intersections of technology, culture, and the arts. His academic trajectory began with studies in Classics and Photography in Switzerland, before a move to the Bay Area in 1992 set him on the path toward new media. In 1997, he received his MFA in New Genres from Stanford University, a program that encouraged his interest in experimental forms and the blending of media, technology, and conceptual art. From an early age, Niemeyer was fascinated by mirrors—not just as physical objects, but as metaphors for media itself. He continues to describe his practice as a lifelong pursuit of making mirrors: systems that allow us to see from perspectives other than our own, reflecting both what we want to see and what we would rather not. For Niemeyer, such mirrors are essential tools. They help us recognize the contexts that shape our lives, the fragile ecosystems on which we depend, and the deep entanglement of human and non-human futures. By showing us what we might otherwise overlook, his mirrors invite us to make better, more informed choices. Niemeyer’s art has been exhibited internationally at venues including the ZKM Center for Art and Media in Karlsruhe, the San Francisco Museum of Modern Art, the San Jose Museum of Art, the Stedelijk Museum in Amsterdam, the Townhouse Gallery in Cairo, museums in Zurich and New York, and many other institutions. His work has been supported by the MacArthur Foundation, the National Endowment for the Arts, Intel, Pro Helvetia, and numerous other organizations. These commissions and awards recognize a career defined by both conceptual rigor and technical experimentation.

Find out more about Greg Niemeyer here.

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Annelia Norris, pue leek la’ (Yurok, b. 1974, Eugene, OR, USA) is an indigenous woman from the lower Klamath River. She is a mother, an activist, and a natural leader in her community. Although her work has mostly played an important role as a visual voice for Klamath River justice campaigns and community wellness, her individual voice has been shared periodically in collaborative shows. Annelia was a contributor for MANIFEST: JUSTICE, a large-scale, social justice-themed art pop-up exhibition and event series in 2015, and a collaborative cultural art exchange in Madiera with the direction of RIGO 23, in 2004. Her work was recently exhibited in WATER:NFS at Oregon Contemporary and  UNDAMMED at CalPoly Humboldt. She studied art at Lane Community College and received a BFA from the University of Oregon. Annelia’s work intertwines traditional techniques and motifs with contemporary materials to explore the intersections between past indigenous experience and contemplations of future reality for the generations to come. Her work mostly speaks to issues concerning identity, displacement, and the complexities of colonization.

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Chris Treggiari’s artistic practice strives to investigate how art can enter the public realm in a way that can engage people in our communities. Chris focuses on highlighting diverse community experiences, histories, and personal stories through participatory, mobile platforms that encourage exploration from the viewer. Often these participatory platforms entail creative methods, which aim to turn the passive viewer into an active art maker who can participate in sharing their personal voice in a community dialogue. Chris has shown internationally including the Venice Biennale 2012 American Pavilion as well as nationally at San Francisco Museum of Modern Art, the Getty Museum, Berkeley Art Museum, Yerba Buena Center for the Arts, the San Jose Museum of Art, and The Oakland Art Museum to name a few. Chris has received grants from the San Francisco and Oakland Arts Commissions, the Creative Work Fund, The Rainin Foundation, The Seattle Center Foundation, and the Zellerbach Foundation. Chris has been teaching at the California College of the Arts since 2013.

Tania Claudia Castillo (b. 1989, Mexico City, Mexico) is a Mexican filmmaker and audiovisual artist whose work explores expanded narrative forms across documentary and fiction. She is currently pursuing an MFA in Documentary Film at Stanford University. Her work engages questions of gender, environmental justice, and migration, and has been supported and presented internationally at venues including the Sundance Film Festival, DocsMX, Ambulante, and the Morelia International Film Festival.

Candice Mays (b. 1987, Moreno Valley, CA, USA) is a transdisciplinary storyteller and creative technologist whose work sits at the intersection of data, community, and justice. As Project Director of Mapping Black California and a John S. Knight Journalism Fellow at Stanford, she builds data infrastructure that centers the communities data is too often used against. At SF Climate Week, Candice presents an installation examining one of AI’s least visible costs: water. Her work asks who bears the environmental burden of the technology we’re told will save us.

Juana Perfecta (b. 1993, Buenos Aires, Argentina) is a visual artist and holds a degree in Visual Arts. Based in the United States, she develops a practice centered on texture as language: the surface operates as an archive of memory, learning, and time. Her work is organized in three integrated series. In her hyperrealist line, technical precision intensifies presence and turns detail into an attentive record. In her abstract series, layers and frictions shift narration into a field of forces, where matter holds what remains latent. In parallel, she works with biodegradable materials, attending to their lifespan, tensions, and transformations as constitutive elements of the work. These materialities are then translated into the digital realm to train her own semantic artificial intelligence system. Cisnero teaches the model associations between visual qualities and a vocabulary of thoughts and emotional states; the system generates images and videos from that lexicon, expanding her language without relying on formal descriptors. After completing Stanford Ignite at the Graduate School of Business, she researches the art market and its models of circulation, integrating contextual analysis into her studio practice.