Points of Entry
Women-Led Galleries on Artsy
Cydney Camp | Ashley Marie | Marceline Mason | Jaime Pattison
March 6th - 31st, 2026
Online only
Lorem ipsum dolor et Points of Entry features …
including brand new works from Ashley Marie and Cydney Camp
View on Artsy
CYDNEY CAMP
Cydney Camp (b. 1994, Detroit) is an artist whose oil paintings and drawings embody the diversity of Black life.
She imbues her works with an aura of power and tranquility through a vibrant color palette, often introducing elements of abstraction, forming dreamlike compositions. Many of her scenes reflect moments of peace among Black figures, positioning leisure as an act of protest against marginalization, particularly in regards to Black femininity. As a whole, her works engender a reality outside the exploitative extraction of the Black body that pervades our broader cultural ethos.
Camp has exhibited across Detroit and Michigan, including at K.O. Gallery, Norwest Gallery, Ann Arbor Art Center, Center for Detroit Arts & Culture, Detroit Fiber Works, and many more. She lives and works in Hamtramck, Detroit.
La Mer, 2026
Oil and acrylic paint, charcoal, oil stick on canvas
60 × 48 inches
In Genesis, originally conceived as a meditation on the Big Bang as Divine Creation, the large scale work transforms into something more intimate and immersive.
Rather than depicting a singular cosmic event, it becomes a field. She depicts origin not as distant or historical, but internal and ongoing. A cycle of becoming and unbecoming defining our lived experience.
“Genesis is not an event… it is a state of beginning.”
ASHLEY MARIE
Metro Detroit–based multidisciplinary artist Ashley Marie creates work that moves between the tangible and the transcendent. Largely self-taught, with early studies at the Academy of Art University in San Francisco, her practice has evolved through lived experience, particularly her navigation of grief, spirituality, and existential inquiry. Exhibiting throughout Detroit and internationally, including the 55th Venice Biennale, Ashley’s work reflects a deeply personal yet universally resonant exploration of what it means to exist between worlds.
Genesis, 2026
Oil on canvas
82 × 63 inches
In Genesis, originally conceived as a meditation on the Big Bang as Divine Creation, the large scale work transforms into something more intimate and immersive.
Rather than depicting a singular cosmic event, it becomes a field. She depicts origin not as distant or historical, but internal and ongoing. A cycle of becoming and unbecoming defining our lived experience.
“Genesis is not an event… it is a state of beginning.”
Time Tides, 2026
Oil on canvas
48 × 36 inches
MARCELINE MASON
Marceline Mason is a Detroit-based painter whose work explores the psychological terrain of nocturnal landscapes, where natural forms become mirrors for inner states of mind. Her recent paintings focus on quiet, uncanny scenes of rivers and night waters, evoking the reflective tension between presence and disappearance. Through layered tone and atmosphere, Mason creates meditative spaces that invite reverence and introspection in response to the shifting natural world.
Mason received her MFA from Cranbrook Academy of Art in 2017 and her BFA from West Virginia University in 2015. Her work has been exhibited at venues including Reyes Finn Gallery, MOCAD, Belle Isle Viewing Room, 333 Midland Annex Gallery, and M Contemporary Art. She was a finalist in the Yeck Young Painters Competition and recipient of the Denis Dedirot Artist Residency Grant at Château d’Orquevaux in France.
Her work has been featured in publications such as Painting Since 2000, Detroit Home Magazine, Real Art Detroit, Detroit Metro Times, and Midbrow.
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Flight, 2026
Oil on panel
41 ½ × 72 inches
Two Pines on Dragon Highway, 2024
Oil on panel
48 × 36 inches
Queen Anne’s Net, 2026
Oil on panel
24 × 18 inches
Chicory in the Night Rapids, 2026
Oil on panel
24 × 18 inches
JAIME PATTISON
Jaime Pattison is a project-based artist based in Los Angeles. Pattison’s work has been exhibited internationally, including exhibitions in Tokyo, New York, Detroit, Toronto, and Buffalo, notably in 2018 at the AKG in Buffalo NY, and as part of Scotiabank’s CONTACT Photography Collection. In 2023 Pattison co-founded DIVE Studios, a shared studio space in Detroit, and has hosted conversations, experimental dinners, screenings. She has been invited to guest curate exhibitions across the city including Afterimages at New Lab’s Detroit location. Pattison also co-created the Studio Dinner series an immersive dinner experience which has been supported by Cranbrook Academy of Art, and The Breakout Foundation among others. Pattison received her BFA at College for Creative Studies with a minor in Critical Studies and will soon be pursuing her MFA at California Institute of the Arts (expected completion 2027).
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Bank, 2025
Acrylic and pigment on panel
43 × 40 inches
Prospects, 2025
Acrylic and pigment on panel
67 × 63 inches
You’re currently developing Voice of Gold at CalArts- this feels like a progression from Securities. Is that the case? If so, what are you thinking about differently with Voice of Gold?
Yes. What got me interested in thinking about finance was being embedded in the start-up community in a post-industrial city in the midwest rust belt.
In Securities I use automatic and hand driven methods of construction. These become indiscernible in the cast- shadows the screen like structures create bringing up questions of authorship, mediation and control in today’s stock-market.
In Voice of Gold, I have begun to think about data-collection and access. The installation blocks off access to most of the gallery and viewers’ images are captured as they enter the space. They are then re-presented mediated through the image of the NYSE. I began to use the exhibition space as a kind of model for a hedge fund’s collection and use of data. I also integrated a sound composition that uses the price of gold as a score for an AI voice to sing in the space.
What are you hoping viewers will be left with after viewing the installation?
Voice of Gold asks viewers to reflect on their own relationship with the stock-market, data collection and the algorithmically driven process such as HFT that utilize that data.
CYDNEY CAMP
Oil and acrylic on canvas
10 × 8 inches