Past Exhibitions

In this exhibition, A Gathering, Liotta explores how a number of sculptures interact; how they dance together. All of this work is entirely new. The roughly two dozen pieces are smaller than works that have been shown in previous years. Emerging, as if out of a mist, is a congregation of beings. Each column is a singular individual. They convene as a group, but have, for the moment, drifted into smaller conversations. Liotta hopes that you will wander among them, will sense the being in each, and enjoy their dances.

Absence of Us is an interdisciplinary, long-term project that transforms used garments into narratives of memory, identity, and resilience. Esha Sadr reconsiders clothing not merely as a consumer product, but as a second skin—objects that carry personal histories and traces of absent bodies. The exhibition explores her experience as an immigrant, present in the U.S. while absent from her home country.

Earth Sanctuary seeks to celebrate the natural world and the legacy of African American women gardeners in Virginia. In this exhibition of abstract works Burrowes explores vibrant color, texture, and rhythm in recent mixed media paintings on paper referencing botanicals found in local gardens.

We view the world through our eyes, limited by a narrow color spectrum and depth of vision. But what if we had compound eyes like insects, sonar like dolphins, and used other senses to enhance our vision? In his exhibition Hybrid Baroque, Bahadori explores new sensoria by abstracting and recomposing elements of nature, architectural structures, and human figures. 

Life in the Anthropocene features a room-sized graph of the volume of Global Plastic Production (1950-2040), assembled with discarded plastics collected largely from the artist’s household, her office, and her neighbors.

of permutations and patterns draws inspiration from several sources including early modern botanical illustrations; the diagrams of plant circumnutation (the autonomous, cyclical movement of plants in response to environmental stimuli) done by Charles Darwin in the 1880s; and the engravings from Nehemiah Grew’s 1682  “The Anatomy of Plants,” some of the earliest studies of plant morphology through a microscope.

By integrating these visual elements and putting them in touch with contemporary research in critical plant studies, Hermanson explores the changing ways that vegetal beings have been addressed in the development of western science through the lens of art. By integrating organic elements and organized, grid elements, she considers how the biological and the human can be entangled and how science and art can be beautifully synthesized.

To many, the United States is sliding into madness and autocracy. Fueled by a cult of personality to a grifter and a demagogue, half the country cheers the spreading authoritarianism while the other half looks on in disbelief.

But some are beginning to push back. RESIST is an ongoing series that documents this growing backlash. These photographs highlight individual and collective acts of resistance by ordinary people peacefully protesting the creeping authoritarianism overtaking their country. Although the current political and cultural situation seems bleak, these acts of defiance can have a profound effect on our collective future. After all, a single grain of sand may be insignificant. But a million grains of sand can grind the gears of tyranny to a halt.

RESIST is thus a celebration of resistance and a call to action. It asks viewers to ponder the question “What are you willing to do or risk to resist?”

Unbreakable Elements by Jun Lee explores printmaking through materials such as wood, paper, and glass – each chosen for its ability to withstand pressure. These works consider the ways we gather strength after moments of defeat and how we rebuild both individually and collectively amidst ongoing precarity. Lee’s work utilizes animals and the cultural narratives that surround them as an accessible entry point to consider our own social dynamics: we, too, are capable of both ruthless competition and compassionate collectivity in our struggles to survive. The reduction woodcut technique Lee employs to create layered imagery further reflects the themes of resilience and transformation. Each carved decision is irreversible: once material is removed, there is no turning back. What remains is a commitment to progress, an acceptance that life requires us to face the consequences of our choices, adapt, and continue.