Nisha Bansil is a glass sculptor, artist and educator exploring how remnants of phenomenological events found in nature relate to patterns that become ubiquitous, sacred and divine. Bansil builds devices to render invisible, natural forces, like sound waves and motion, into visual forms in glass.

Timothy J. Colston’s integrative approach to science has far-reaching implications that span across disciplines. He is an evolutionary biologist focused on the diversity, ecology and conservation of amphibians and reptiles.

Cristina Córdova is a figurative ceramics sculptor inspired by the rich ceramic heritage of the Caribbean. Using clay to give voice to regional stories and aesthetic inquiries, Córdova strives to honor and innovate within this ceramic lineage, expanding collective creative language.

Flavia Montaño-Centellas is a community ecologist whose research focuses on how changes in species interaction across environmental gradients — things such as elevation changes and human disturbance — lead to changes in biodiversity.

Corrales’ research focuses on fungal ecology with an emphasis on how underground fungal systems fuel the well-being of woody species and tropical ecosystems.

Thea Alvin is a stone mason and sculptor specializing in arch construction, large-scale sculptural installation, stone building, and, most recently, stained glass, building on her unique style and perspective of stonework, design, installation, team leadership and teaching in the trades.

Raul De Lara is a sculptor who practices storytelling through woodworking, exploring Mexican/American iconography, queer identity and the immigrant experience. De Lara’s research preserves, honors and propels forward traditional uses of wood while combining them with new developments in the global industry of woodworking.

Wang studies the biodiversity of the Himalayan-Hengduan Mountains. At Mount Gongga, high in the Himalaya of eastern Tibet, Wang has studied the ecological interactions between ghost moth caterpillars and the Ophiocordyceps fungus that parasitizes them.

Combining wheel throwing, hand-building and surface adornment, including carving, glazing and finials, Said pushes the physical limits of clay while engaging, respecting and building upon a lineage of Egyptian pottery.

Eiseman recognizes there is much to observe but little time or funding for scientists to do so.