G. Pack

G. Pack, Hell Hounds, 2022, acrylic on canvas, 36 x 48

G. Pack, Phoenix, 2023, acrylic on canvas, 36x48

G. Pack, Oblivion, 2024, acrylic on canvas, 30x40

G. Pack, God's Little Secret 2022, acrylic on canvas, 18 x 24

G. Pack, For Glory Board Collection No.1, 2024, Assortment of 6 original Skate decks Wall Installation

G. Pack, Celange, 2024, acrylic, on canvas, 30x40

Revenge is the least I deserve
September 7- 29, 2024

Revenge Is The Least I Deserve visually articulates the ongoing cycle of grief and the process of releasing it. The title initially emerged as a response to perceived mistreatment and disrespect, reflecting on G. Pack’s personal struggle to reclaim his dignity and assert his pride. This need to retaliate is not unique to him but is a common reaction to various forms of hurt, from casual misunderstandings to the deep wounds inflicted by systemic racism, emotional abuse, and generational trauma. Through introspection, Pack realized that he deserved much more than the fleeting satisfaction of revenge. Instead, he discovered that he is worthy of love, understanding, and the reciprocal kindness he offers to others. Revenge only consumes valuable time and energy, serving no constructive purpose. This work underscores the importance of moving beyond retribution to embrace a more compassionate and fulfilling existence.

Anne Bouie, Taught to Hunt-Shovels, 2022, Repurposed antique hoe, shells, botanicals; Repurposed furniture , antique tatting and handwork, black F&F memorabilia, 40 x 14 x8 (left), 36 x 21 x 4 in (Middle), 34 x 10 x 3 in (right)

Anne Bouie, The Sacrifice, 2024, silk, cotton, acrylic fiber, repurposed deer skull, sassafras bark, 9 x 72 in

Anne Bouie, Provider of Herbs, Leaves, and Libations, 2018 Mixed, acrylic, wool, hemp and silk fibers, botanicals, 22 x 60

Anne Bouie, Equinox Sun at High Noon, 2024 Mixed, silk, acrylic fiber, artist-made mortar, 22 x 72 x 9 in

Anne Bouie, Equinox at Sunset,2024 Mixed, Silk, acrylic fiber, artist made mortar, 22 x 72 x 9 in

Anne Bouie, Guardian of the Crossroads,2024 Mixed repurposed basketry, silk, acrylic, feathers, 28 x 60 in

Anne Bouie, Earth Shield of the North Wind, 2024, Silk, cotton, acrylic fiber, repurposed deer skull, sassafras bark, 58 x 14 x 15 in

Anne Bouie, Earth Shield of Summer Harvest, 2023 Antique trim, silk, cotton fiber, 22 x 48 in

Anne Bouie, The Dark Sacred Night, 2018, mixed, shells, artist made adhesive and mortar, silk, cotton and acrylic fiber, 82 x 26 x 6 in

At the Equinox
September 7- 29, 2024

At the Equinox includes ceremonial objects and assemblage that reflect upon some time-honored traditions and spirituality of the Fall Equinox, a universally acknowledged season when the sun crosses the equator going from north to south. It represents completion, harvest, and preparation for the dark nights and cold days of winter. Peoples and cultures that have maintained a strong connection with the earth have recognized the equinox as one of the four moments of the sun—the four directions or cardinal points. It is the season of adulthood and the fulfillment of one’s purpose; the acceptance of becoming an elder where many spiritual traditions share stories, traditions, meanings and teachings; and imparting what we know and value ourselves as individuals and a community. Cultural and spiritual aesthetics can be a window into universal themes that acknowledge our original teachers and the Earth and all sentient beings who dwell within it.

"Queeny (Hillyer) #2", 2018 ,acrylic and ink pen on cut-out birch plywood 34 1⁄2 x 46 1⁄2 inches

“Allone (Hillyer) #1,” 2023 Acrylic, ink pen, and hand cut paper collage on canvas 72 x 144 inches

"Sad Girl (Hillyer) #3",2018 acrylic and ink pen on cut-out birch plywood 44 x 39 inches

"Self-deprecation (Hillyer) #4",2018 acrylic and ink pen on cut-out birch plywood 42 1⁄2 x 36 inches

"Window Dressing (Hillyer) #5",Window Dressing 2018 acrylic and ink pen on cut-out birch plywood 44 1⁄2 x 27 1⁄4 inches

"On Top (Hillyer) #6",2018 acrylic and ink pen on cut-out birch plywood 68 x 31 1⁄2 inches

And Still We Rise
September 7- September 29, 2024

And Still We Rise features a monumental colorful mixed-media painting with a selection of Anna U Davis’s black and white wall sculptures exploring the perpetual misogynistic behavior that has been indoctrinated within society, while investigating the physical and emotional impact it has had on the artist. Davis’s Swedish roots are central to her brand of feminism. She remembers growing up in an environment where notions of gender justice were firmly embedded in the legal framework and norms of the community. Her struggles with inadequate childcare and family leave as a young mother in the United States, then, formed a strong undercurrent shaping her critical perspective.

"New Growth (Hillyer) #6," 2024, Inks made with red deadnettle, honeysuckle leaves, dogwood blossoms, bark from fallen branches, & dandelion leaves on handmade Hakone grass and cotton paper 17.5 x 17.5 in

"New Growth (Hillyer) #7," 2024, Inks made with red deadnettle, honeysuckle leaves, dogwood blossoms, bark from fallen branches, & dandelion leaves (with modifiers of alum, soda ash, and iron) on handmade Hakone grass and cotton paper, 17.5 x 17.5 in

"New Growth (Hillyer) #8," 2024, Inks made with red deadnettle, honeysuckle leaves, dogwood blossoms, bark from fallen branches, & dandelion leaves (with modifiers of alum, soda ash, and iron) on handmade abaca paper, 17.5 x 17.5 in

"New Growth (Hillyer) #10," 2024, Inks made with red deadnettle, honeysuckle leaves, dogwood blossoms, bark and charcoal made from fallen branches, dandelion leaves, & mulberries on handmade Hakone grass and cotton paper 17.5 x 17.5 in

"New Growth (Hillyer) #22," 2024, Inks made with red deadnettle, honeysuckle leaves, dogwood blossoms, bark from fallen branches, dandelion leaves, mulberries, magnolia seed pods, & Norway maple leaves on handmade cotton paper with bark/bast fiber from fallen branches, 11 x 8.5 in

New Growth
August 3-September 1, 2024

New Growth features a series of site-responsive drawings studying the city landscape surrounding IA&A at Hillyer. Observations of the reciprocal impact of nature and the built world reveal complex, interconnected relationships. These drawings explore ways the local ecology is shaped by its human inhabitants and how, in turn, this environment influences human experience and perception of a place.

In this work, Evans incorporates a palette of inks and paper made with botanical sources collected within walking distance of the gallery. Cultivated from plants in abundance or past their prime–spent blooms, fallen branches, and unruly “weeds”–the work is both of this place and an instrument to learn about it. These materials breathe life into drawings of both the tended, and overlooked, nature of the surrounding neighborhoods–the manicured hedges and gardens alongside new growth emerging between cobblestones.

"Night Hunger, After Xenia Hausner," 2012, Oil on canvas 50 x 60 in

"Family Totem: Cox, McCall, Asplen, O’Boyle, Funk, Gebbia, Gallagher," 2024, Oil on canvas, 54 x 114 in

"Love in the Shade," 2023, Oil on canvas, 48 x 54 in

"The Garden of Autumn," 2021, Oil on canvas, 78 x 54 in

"Origin of the Family," 2019, Oil on canvas, 96 x 54 in

"The Floor is Ours," 2023, Oil on canvas, 96 x 54 in

Sapphic Gaze
August 3-September 1, 2024

Sapphic Gaze presents a compelling series of vibrant, life-size portraits that delve into the intimate lives of women-loving women. Drawing from her 23-year relationship and the experiences of lesbian couples in her community, Joan Cox crafts visual narratives that champion intense, celebratory, and nuanced relationships. By reimagining historical art compositions with personal narratives and lush, symbolic imagery, Joan challenges the historical absence of lesbian representation in Western art. Her paintings are a canvas of affirmation, celebrating the dynamic and complex intimacies between women, which have long been overlooked or taboo. Through this exhibition, Joan showcases the beauty and complexity of sapphic love and aims to affirm these relationships, recognizing them for their intrinsic value and significant place in contemporary society.