Matt Branham is a multidisciplinary artist and educator whose practice bridges the tactile and the digital. Rooted in ceramics and traditional craft methodologies, Matt currently works as a digital fabrication educator, bringing a nuanced understanding of how handwork and computational tools inform one another. His work has been exhibited nationally and internationally, while their teaching philosophy, shaped by an MFA with a focus on pedagogy and arts education, continues to evolve through conference presentations and ongoing research.

Matt's studio practice refuses singular categories: Kirkland Signature mouth grills, furniture, functional pottery, and experimental objects emerge from the same restless creative drive. Whether working in clay, metal, or code, he remains committed to making as a form of inquiry, always onto something.

Juan William Chávez, a 2012 Guggenheim Fellow, is an interdisciplinary artist of Indigenous Latinx and Irish descent. His work is situated at the intersection of ecology, social practices, and decolonial approaches to environmental systems. Chávez's creative practice includes social practice art, public art, installation, sound, agriculture, and zines. He focuses on long-term projects that explore land stewardship, food sovereignty, environmental justice, and the interconnectedness of human and non-human communities. Rooted in his Peruvian heritage and influenced by the urban and natural landscapes of St. Louis, Chávez employs Andean philosophy to view ecology as a living system that encourages creative reciprocity. His work integrates urban agriculture, pollinator stewardship, and collaborative cultural production to create spaces where ecological systems and community life mutually sustain each other. Through public art, performances, and Eco/Art workshops, he frames art as a form of ecological infrastructure and collective care.

Alan Poma is a Peruvian multimedia and sound artist based in Los Angeles. His practice explores sound, technology, Indigenous knowledge, and alternative conceptions of time and the future. In 2019, he developed the Andean Futurist Manifesto, a framework for imagining futures through Andean cosmologies, technologies, and forms of knowledge. The ideas proposed in the manifesto have since grown into a community of artists, poets, and musicians working collectively through the lens of Andean Futurism. His work includes sound performances, experimental opera, audiovisual installations, and research-based projects that explore relationships between humans, landscape, and more-than-human forms of agency. Poma has exhibited and performed internationally and has taught at the California Institute of the Arts (CalArts).

Forged in 2016 within the academic orbit of Lindenwood University, Endeavor is less a traditional jazz quartet and more a sonic terrarium. Initiated by Adam Donohue, the group treats improvisation as a speculative science—mapping the strange ecosystem where breath meets binary, and wood meets wire. Their sound is a living architecture, built from the geometry of visual art, the mathematical drift of alternative tuning systems, and the heavy, mechanical pulse of environmental machines.

The human element anchoring these sounds consists of Lindenwood faculty Adam Donohue (saxophone/wind controller) and Justin DiCenzo (bass), colliding in real-time with alumni Aidan Byrnes (keyboards/synths/computation) and Hans Faris (drums). Together, they dismantle and synthesize complex, shifting grooves—an unfolding experiment where the organic world and the synthetic grid breathe the exact same air.

Adam Donohue maps the intersection of breath and circuit. Based in St. Louis, the saxophonist, composer, and audio engineer splinters contemporary jazz, free improvisation, and kinetic electronic soundscapes for modern dance theater.

He currently broadcasts live frequencies with Endeavor. Calibrated by the sonic disciplines of Berklee College of Music, Donohue now architects the music program at Lindenwood University and helms Push Records—treating both the woodwind and the mixing console as vital instruments to excavate the unseen.

Justin S. DiCenzo is a versatile electric and upright bassist whose playing is defined by an unwavering commitment to the pocket. Grounded in formal jazz studies at Webster University and post-graduate work in the Equal Interval System with Thomas Chase Jones, his approach focuses on providing a precise, groove-oriented foundation for drums and harmonies.

Aidan Byrnes is a St. Louis based electronic musician and composer with a focus on custom, non-linear systems for music. Aidan regularly performs as a solo artist along with others through his group SLECM (St. Louis Electronic, Computer Music) as well as providing keyboards and electronics for Endeavor.

Hans Faris has been playing drums for over two decades, performing across a wide range of musical settings. His background includes jazz, funk and blues, along with extensive work in musical theater pit orchestras, session work and private events. Typically a groove-oriented player, his work with Endeavor takes a more spontaneous approach, built around close listening, reacting in the moment and adapting his playing to the direction of the ensemble.

Killer Napkins is Jason Spencer, born and raised in St. Louis, Missouri. After studying fine art at a local college he expanded his creative passions, ranging from illustration, apparel design, sculpture, and painting. By combining the cute and horrific, he has created a body of edgy and unique work.

Browse the images on the site to get a glimpse of what goes on in this artist's warped mind.

Chicago-based artist John David Mooney is an internationally recognized sculptor and environmental artist known for transforming public spaces with large-scale works that integrate architecture, urban planning, and history. Renowned for his innovative use of light, his work is not new to Laumeier.

For the Park’s tenth anniversary, Mooney was asked to create St. Louis Night Garden, 1986, a temporary garden of lights, candles, and other sculptural elements covered The Way Field. The monumental work included electrical “haymounds” which are part of this year’s AfterDark.

Adrienne Outlaw is a St. Louis-based sculptor whose work gives physical form to relationships that are often invisible. Working across sculpture, installation, video, and participatory projects, she creates structures and environments that examine how bodies, materials, and people depend upon one another. Her work often incorporates discarded materials whose accumulated histories connect individual actions to collective life. Across more than three decades, Outlaw has returned to questions of responsibility, trust, care, and support: what we depend upon, what appears to support us, and what actually holds. She is the co-founder and director of Red Gate Gallery in St. Louis.

Body Electric is a group of suspended, illuminated sculptural forms made from post-consumer plastic and metal. Installed among the trees, the works will gather around the intersection of several paths, with individual forms extending into the surrounding woods. Glowing against the night landscape, the installation invites visitors to move among the forms, experiencing shifting perspectives as they approach, pass through, and gather.

Matt Studios is an animator and 3D artist creating surreal, liminal environments displayed through handheld camcorder “found footage” style videos. He began producing backrooms animations in 2022 that quickly gained popularity online and led to two collaborations with Netflix for their releases of Squid Game seasons two and three. His scenes establish an atmosphere of uncanny nostalgia evoked through imagery of distant childhood memories, such as rolling grassy hills or dim, winding hallways.