Winona is the curatorial practice of Katherine Jemima Hamilton. Here is a selection of her other projects and curated exhibitions.
Off Hours
Nancy Jean Guerrero: In the Manner of a Ghost
Right Window, San Francisco, CA
February 05 - 28, 2026
Print the curatorial zine at homeThe figures in Nancy Jean Guerrero’s beaded embroidery are hideous, tender, heartbreaking, repulsive. Intimate depictions of small monsters—a cockroach with the shadow of a human skeleton, a rotten apple with child-like features, a lumpy, scabby frog—recall personal stories through the imagery of old fairy tales, embodying the formative experiences that shape our self image and capacity to love and be loved. Constructed from delicate thread and layers of reflective beads, Guerrero’s abject creatures reveal to us who we hope we are not, or who we secretly believe ourselves to be.
The artist uses accessible crafting materials to create these precious, nostalgic images, spending hours on the physically painful, meticulous labor of arranging, threading, and stitching tiny beads into form. Through repetition and obsessiveness, Guerrero both mirrors and soothes symptoms of anxiety, depression, and addiction. By caring for these creatures as though they are Guerrero’s own offspring burdened by these hereditary traits, the sculptures and flat beaded works give form to what is typically considered ugly or unwanted, making visible the hidden and unspoken legacies passed down genetically.
to arrive is never to arrive
Skyline College, San Bruno, CA
February 07 - March 20, 2026
Javier Roberto Carlos, Lorena Molina, Sanaz Safanasab
The artworks in to arrive is never to arrive do not tell stories of salvation or righteousness overcoming evil. Instead, they trace acts of reclamation amid conditions of cruelty and displacement: moments when people regain control over their stories or images.
Pulled from Valeria Luiselli’s novel, Lost Children Archive, the exhibition’s title abridges a quote from a migrant prayer: “to leave is to die a little / to arrive is never to arrive.” The phrase names arrival as an ongoing negotiation amid political, economic, and personal instability—conditions in which privacy and dignity are framed as luxuries.
Show Me Devotion
Adrian Clutario and Gericault Delarose
Counterpulse, San Francisco, CA
May 6 - August 31, 2025
A freer, queerer world is not only possible; it already exists. It is slippery and elusive, but you can find it if you know the right places to look. For many, these moments of deliverance only exist in dark and inconspicuous margins: spaces filled with the ghosts of our blood relatives, ideological ancestors, and the ghosts of other futures. In Show Me Devotion, artists Adrian Clutario and Gericault De La Rose pull from their Philippine heritage to confront the rigid nature of Spanish colonial Catholicism with the anito spirits indigenous to their ancestors’ beliefs. In this exhibition of all new artworks, De La Rose and Clutario treat the queer experience as a central religious motif, creating a communal sanctuary where spirituality is a tool for queer and trans connection across realms.
Clutario and De La Rose repurpose icons from the Catholic Church and Philippine mythology into emancipatory symbols, using materials more often found at a rave than a church. Calling to their ancestors with sequins, leather, vinyl, and other shiny, slick, sticky materials, these artists invite demons and deities expelled from other realms to stay, revel, party. Rather than hiding in the shadows for survival, Clutario and De La Rose’s apparitions are knowable, even confrontational. Laden in rhinestones and capiz shells, they beckon to us, leading the way towards alternative futures.
Like the visiting ancestors, deities, and creatures of other names who are unseen guests in Show Me Devotion, impermanence is a crucial characteristic of many queer spaces. As queer and trans people are increasingly targeted and erased from society by those citing “Christian values” for their acts of violence, the survival of these communities depends on their ability to disappear into the dark of the night without leaving a trace. Clutario and De La Rose locate a version of this fugitive queerness within their Catholic upbringings, connecting a plurality of beings through the rituals and iconography of this hegemonic religion as represented in their artworks. The artists invite specters to stay and seep into the world we think we know, joining forces to resist the erasure of queer and trans people in the material world. These moments of convergence may be brief, but they are also joyous—the ghosts in the Balete tree have a kiki; the rosary glows onto the dance floor.
SPRANG BRAK
120710 Gallery, Berkeley, CA
Artists:
Mary Campbell, Anjelica Colliard, Jillian Crochet, Torreya Cummings, Kyle Daniels, Michael Diamond, Sammy Gripe, Hudson Hatfield, Chloe King, Gabrielle Medina, Chris Thorson, Ester Tuva
In a groggy haze, the smell hits you first: tequila, lime, and sweat radiating off sun-scorched, lobster-red skin. As your eyes adjust, the scene comes into focus—chipped champagne bottles, Liquid IV packets, a pool of vomit creeping from the hood of an unfamiliar sweater behind the couch. A sliver of sunlight cuts through blackout curtains, and from somewhere deep in your chest comes the rallying cry heard around the world: “SPRANG BRAK BITCHES!”
The group exhibition SPRANG BRAK uses the haziness of spring break—a time of respite, reclusion, and formative experiences bookended by institutional order—as a departure point for ideas around play, naivety, sexuality, childlike wonder, and villain origin stories. Long seen as a rite of passage, it’s a time rife with formative moments, naive explorations, and budding rebellion. Through their painting, sculpture, and multimedia work, artists Mary Campbell, Anjelica Colliard, Jillian Crochet, Torreya Cummings, Kyle Daniels, Michael Diamond, Sammy Gripe, Hudson Hatfield, Chloe King, Gabrielle Medina, Chris Thorson, and Ester Tuva channel the adolescent whimsy and sun drenched delirium of spring and summer vacations, revealing its ripple effects through our lives, culture, and environment.