Opening May 16th
First Friday: June 6th
Open through June 28th
Curated by Laura and Jeffrey Skinner



We love stories in which one thing turns into another, quite different thing.  Perhaps this is because we ourselves are always in the process of becoming, turning from something into something else.  And because our continuous transformation is part of a sea of larger change--we feel ourselves set down in a vast becoming.  The artist hopes to find and fix those instances of transformation that contain an essential residue of meaning, though she may not know how or why she does this, nor even what meaning is.  Nevertheless, these photographers have found ways, and means, and we can be grateful for the result.


Megan Mette’s sparse interiors imply thoughtful abstraction, even as we enjoy the pleasure of their geometries.


Traces of hectic human action, mute now and still, open into imagined narratives in Jeremy Devine’s oddly elegant compositions.


Jenny Zeller’s layered, mixed media work gives tactile sense to two dimensions; we see, and we want to touch.


Nate Larson’s witty video returns our dreams of worldly power to right proportion.


A fragment of the “natural world,” an instant of transitional form, fragile but now lodged in permanence--Brenda Wirth’s Autumn notations. 


In Clary Estes’ surreal disjunctions our fragmented, incomplete selves are poignantly embodied.


By manipulating exposures, Kent Krugh discovers contextual density, making visible the forest and the tree.


Rob Southard’s brooding monolith darkens ordinary commerce, turning it into a sci-fi dream, its tiny, man-sized door lit by a faint but insistent hope.


There we are, containing Whitman’s multitudes in Mary Carothers and Joyce Ogden’s striking collaborative piece--ontology recapitulating phylogeny, Darwin compressed into two dimensions


The artist’s solitude has both stony weight and airy lightness in Anne Langan’s meditative triptych.


Like a radiologist reading an MRI, Mitch Eckert’s images unpack the dark layers beneath fashion photography.


There is sweet whimsy to Victoria Crayhon’s altered marquees, the abandoned past startled into living, present day speech.