The beauty of Tina West's latest show lies in the maturity and wonder of her still lives. For every photo, West stages her scene with unique treasures from her vast collection. Allowing them to speak to her, rather than the opposite, each object is chosen not because of an image West is trying to recreate from her mind, but because of each object's sheer attraction.

In his new body of work, José Picayo explores the mystery of human perception and interaction. This exhibit is comprised of haunting paired portraits, one photograph of the back of a model’s head and another of the front. It’s human nature to see an incomplete image and mentally complete it, jumping to calculated assumptions based on previous experience. Picayo relates these photographs to his own experience walking in the streets of the city, imagining the front of the strangers he walks behind.

When one thinks of the summertime, a million different smells, sights, sounds, and memories manifest. Each year, Rice curates a summertime salon show that captures this multiplicity, displaying a diversity of styles, themes, nuances, and artist techniques. For 2015, Rice has brought together the works of 51 artists mosaicking the walls of the gallery walls from floor to ceiling with nearly a hundred photographs, their various sizes, color schemes and subject matter expertly laid out to fit together like the pieces of an eclectic puzzle.

Pelican Finn, a reference to the subject’s name, broadly illustrates the relationship between individual and environment while specifically capturing a Cuban American woman’s relationship to the Florida Everglades, a world heritage site and the largest wetland on earth. Shooting through the intense and wild conditions inherent to the setting, Schilling creates a magical, dreamlike world that captures the untamed spirit of both the Everglades and Finn, who was introduced to the Everglades in flight from Cuba to the United States for the first time.

Brian Pearson's search of quiet moments within the ever-increasing calamity of the modern world drives this new series of images. The medley of black and white images is split between the figurative and the architectural. The raw, candid quality in his imagery inspires a different sense of place and time in each photograph, creating a collection that demands the individual attention of the viewer with each melodic piece.

Your Nearest Exit May Be Behind You, a reference to the traditional pre-flight instructions of airline hostesses, is fine art photographer Micheal McLaughlin's collection of the sights found universally in the act of travelling between countries and continents. From dark Hong Kong skylines shot through hotel room windows to the familiar, scratched silver buttons of a New York subway elevator, the resulting images are what McLaughlin describes as being "as much of a peripheral view as they are a direct view of the world."