Alicia Mitchell, whose native name is TruthSeeker; Wanaumwnun in Algonquin, carries the legacy of her people as a 13th generation Perry/Crank Clan Descendant. She is a proud member of the Watuppa (Troy) Pocasset Indians of the Wampanoag Nation and today holds the honor of serving as the Stewardess of the Perry Homestead on Indian Town Road in the Watuppa Reservation. Her family has remained on this sacred land in an unbroken line of occupancy since before the founding of the United States, keeping alive traditions rooted deeply in place and spirit.
TruthSeeker, Wanaumwnun is the great-great-great granddaughter of Dr. William P.P. Perry, a respected shaman and medicine man of the 19th century. His was the last Watuppa (Troy) Pocasset burial in their ancestral grounds near North Watuppa Pond, where generations rest in sacred connection to the land.
Alongside her sister Monique, whose native name is She Who Has Strong Thunder, Alicia is planting seeds for the future through their non-profit, Donna’s Daughters Apothecary and Healing Center, opening in 2025. Their vision is to bring back the traditional medicines and healing practices of their ancestors, weaving the wisdom of the past into the needs of the present.
Walking the path of both student and steward, Alicia will graduate in Spring 2026 with a degree in Sustainable Agriculture from Bristol Community College, while also studying to become a Certified Herbalist. With this knowledge, she is working to restore her family’s farm into a living source of nourishment and medicine — a place where traditional plants will once again grow and healing will return to the land and her people.

Bhen Alan (b. 1993, Cagayan Valley, Philippines) is a visual artist and professor who grew up
weaving and learning traditional folk dances. He immigrated to Toronto, Canada as a teenager
before settling in the United States. Alan’s work draws from his upbringing and diasporic experiences
to incorporate multiple disciplines and mediums that reflect both his cultural heritage and recent
contemporary investigations.
Alan holds an MFA in Painting and a Certificate in Collegiate Teaching in Art and Design from the
Rhode Island School of Design, and a BFA in Painting from the University of Massachusetts,
Dartmouth. From 2022-23, he received a Fulbright scholarship to conduct artistic research in the
Philippines, working alongside master weavers of indigenous tribes to research mat weaving culture.
His work has been exhibited at the Museum of Fine Arts Boston (Boston, MA), Cue Art (New York),
Syracuse University Art Museum (New York), UMass Amherst Museum of Contemporary Art,
(Amherst, MA) Praise Shadow Gallery (Brookline, MA), Real Art Ways (Hartford, CT), Kniznizk
Gallery at Brandies University (Waltham, MA), 808 Gallery at Boston University (Boston, MA), Rhode
Island School of Design (Providence, RI), Providence Public Library (Providence, RI), Hunter
Gallery (Middletown, RI), E.I.K. Gallery at Yale University (New Haven, CT), Culture Lab LIC (New
York, NY), Providence Public Art Library (Providence, RI), St. Botolph Club Foundation (Boston,
MA), John B. Aird Gallery (Toronto, Canada), Shockboxx Gallery (Hermosa Beach, CA), Providence
Art Club (Providence, RI), Bowersock Gallery (Provincetown, MA), and New Bedford National
Historical Park (New Bedford, MA), among many others.

Daniel Wyche is a Chicago-based guitarist, composer, and improviser. Working with a wide range of physical preparations, extended techniques, and pedal instruments, his solo recordings and live performances are characterized by long-form structured improvisations and multichannel guitar. He has been a curator with the Elastic Arts Foundation in Chicago since 2013, where is work has been described as “crucial” by Dusted and “vital” by the Chicago Reader. In March of 2020, Daniel co-founded The Quarantine Concerts in collaboration with Chicago’s Experimental Sound Studio. The series has been widely praised as a model for online/streaming live music. Along with his solo guitar work, Daniel is involved in several ongoing collaborations, most notably the trio of Wyche, Mark Shippy (US Maple), and Ben Baker Billington, as well as new work with longtime collaborators like Patrick Shiroishi, Lake Mary, and many others.. His most recent solo record, “Earthwork,” was released on American Dreams Records in 2021.

Diogo Lima (b. 1993, São Miguel) is a Portuguese director and editor whose work spans fiction, documentary, and advertising. Often rooted in humor, his projects frequently explore the specificities of being Azorean. His credits include the documentary AZ-RAP: Sons of the Wind, the web series Sou Menino Para Ir (FOX Comedy, RTP1), and the short fiction film The Last Days of Emanuel Raposo.

Evelyn Rydz works across drawing, site-responsive installations, and community projects to reimagine our relationships with the natural world and with each other. Her practice explores connections between bodies of water, personal histories, consumer cycles, and threats to natural and cultural ecosystems.

Rydz has collaborated on community projects with the University of Massachusetts, ICA Watershed, Ethelbert Cooper Gallery of African & African American Art, and MIT List Visual Arts Center. Rydz is a Professor at Massachusetts College of Art and Design.

Henrique Furtado Ferreira, born in 1981 in Ponta Delgada, Azores, and known as DJ Milhafre, balances his day job with his passion as a DJ, collector, and researcher. He released Calafonas: Music from the Azorean and Portuguese Diaspora (1970s–1980s), a compilation featuring musical gems rediscovered from the Luso-American past. His multiple facets are part of the same universe, where culture, music, and identity intertwine.

Hugo Brazão is a visual artist whose practice spans painting, sculpture, and textile-based installation. Born in Madeira Island and based in Lisbon, his work explores the intersection between fiction and reality, often unfolding as immersive spatial compositions that challenge linear narratives and propose alternative temporalities. Using materials such as textiles, wood, pigment, and found objects, Brazão constructs vibrant, layered environments that blur the boundaries between drawing, object, and space.

Storytelling, play, and the aesthetics of displacement are central to his work. Humor, color, and distortion function as tools of both disruption and care—strategies through which he reimagines how bodies, identities, and spaces relate. Whether through sculptural fragments or full-room installations, his practice offers portals into speculative, sometimes absurd worlds that invite both contemplation and disorientation.

Brazão holds an MA from the Royal College of Art in London and has exhibited widely in Portugal and the UK. His work reflects an ongoing interest in how fictional visual languages can be used to question dominant narratives and propose new modes of relation—particularly in dialogue with print culture, queer imagination, and the politics of display.