College of Visual and Performing Arts

Summer Studios: Arts on Site! The GPS Student Artist Residency Program
2025-08-04 12:00 - 2025-08-16 17:00 (America/New_York) | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Summer Studios: Arts on Site!

The GPS Student Residency Program

August Artists-in-Residence: mckenna jones, Melanie St Clair, Remus Steward, knia Williamson,

August Cohort | August 4 – 16, 2025

Public Open Studio Hours:

Aug 11th | 12-3p

Aug 13th | 2-5p

Aug 15th | 6-8p, Celebratory Reception

Greensboro Project Space is pleased to present its 3rd Annual Summer Studios: Arts on Site! student residency program. This residency program will assist in educating students that GPS can also act as makerspace, where they can play, experiment, take creative risks, and develop their artistic voice.

Designed to support UNCG undergraduate student artists (BA + BFA) striving to develop, adapt, and/or reinvent their creative process and to promote artistic growth and development, artists are afforded two-weeks of uninterrupted research and development, coupled with financial support and public presentational platforms to share their creative work. The residency’s mission is to be an adaptive space to build a sustaining art community for our UNCG students so their creativity and connection to the Greensboro community thrives.

August Cohort

McKenna Jones (BFA Art History, minor Art Administration) plans to investigate the relationship between gender, body image issues, and chronic illness. Drawing from personal, first-hand experience, they want to illustrate these frustrations associated with these issues and analyze the reasons why these issues are connected to each other through their artwork.

Melanie St Clair (BFA Printmaking and Drawing) is heavily inspired by paintings of Kusozu, the nine stages of death, created in the Edo period of Japan by Buddhist artists. She wants to create imagery reminding us of decay through the use of bones, old photos, graves, rot, flowers and love. This will include incorporating photography and digital collage to depict the cycle of decay. These images will be created via cyanotypes and photosensitive emulsions in order to utilize sunlight to shed warmth on such a complicated topic. They will be printed onto recycled paper that will be made in the studio.

Remus Steward (BFA Sculpture and Ceramics) intends to develop an installation with optional participation based on sense and memory. They plan to experiment with soft sculpture, sound and video, tactile and wearable elements. During the Open Artist Studio Hours and Informal Closing Celebration, they plan to give the audience the choice of participating in open and short performance-led engagements with the physical and auditory materials they produce. A main objective is to craft and engage with physical objects that will aid in the explorative process, also acting as manifestations of memory in the real world. Memories can be triggered in a variety of ways, and frequently have ties to specific scents, places, or media. By using physical sensory objects, audio, and projected video they will be creating an environment in which to explore these associations.

Knia Williamson (BFA Sculpture and Ceramics) intends on creating flower vessels inspired by her previous work, Entomophily, a simple form accentuated with floral designs. She specifically wants insight into how material impacts the aesthetic and perception of her work. This will be done with the objective of investigating how the form evolves in size, shape, and style. She proposes using a variety of materials that extend beyond her current use of earthenware clay, experimenting with plaster, fabric, and air-dry clay to allow for discovery of how the materials impact the perception of the vessels. This exploration will allow her to assess if the new materials elevate or challenge the success of her original design.

This black feeling Art exhibition
2025-08-19 12:30 - 2025-08-23 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
This Black Feeling

Solo Exhibition by Zaire Miles-MoultriE

August 19 – August 23, 2025

Reception: Friday, August 22nd | 6-8P

More About This Black Feeling

This Black Feeling is a culmination of my artistic evolution thus far, bringing together works from ongoing and completed projects, individual pieces, and exploratory sketches. Serving as a window into my visual world, it reveals the techniques, narratives, and emotions that define my practice.

Moving between the surreal and the real, my work is imbued with a recurring sensation of black, but not bleak. A duality of darkness that is rich, not empty, a space of possibility rather than absence. For me black and Blackness (both as a color and a social construct) carries a profound complexity: it is a lived reality, rich with depth, emotion, beauty, a timeless resonance, and so much more. Through this collection of works, I invite viewers to engage with their layered meaning and the enduring power of black both as an aesthetic and a conceptual force.

More About Zaire

Rooted in my Southern upbringing, my work explores Blackness—both a social construct and a lived reality—alongside spirituality and otherness, transforming the familiar into the mystical. Using biblical iconography, antique Black figures, and flora and fauna, I depict the surreal duality of Southern Black existence. My practice lives at the intersection of heritage and imagination, where history meets possibility.

My collages become portals to examine identity and collective memory. Each piece begins with meticulous research into historical figures, objects, and events. I then employ various printmaking techniques to create imagery that I cut, stitch, and layer in a deliberate act of storytelling. Using both analog and digital collage methods, I construct intricate compositions guided by a simple philosophy: If I can’t find it, I’ll make it; if I can’t make it, I’ll find it. The work comes to life through traditional printmaking processes like screen-printing and lithography.

Ultimately, my practice celebrates resilience and the enduring power of printmaking and collage to provoke thought, stir emotion, and ignite change. By embracing their transformative potential, I affirm that every piece carries the power to rewrite history, reclaim agency, and reimagine the world anew—for my nieces and nephews, and for all of us.

To learn more follow Zaire on instagram @that_zaire

Greensboro Project Space Weekly Hours

Tuesday-Friday, 12-5p

Saturday, 2-5p

Fantastic creatures, Beautiful beasts art exhibition
2025-08-26 12:00 - 2025-08-30 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Fantastic Creatures, Beautiful Beasts

Exhibition by Paige Cox & Natalie Schorr

August 26 – 30, 2025

Reception: Friday, August 29th | 6-8P

More About Fantastic Creatures, Beautiful Beasts

What if you gave your imagination total freedom?

Strange creatures, imagined worlds, curious hybrids—do they only exist in our minds, or can we bring them to life?

This work lives in that in-between space,where fantasy becomes form and play becomes purpose.

Colors misbehave. Materials mix in unexpected ways.There are no rules about size, shape, or seriousness.

It’s about creating for the sheer joy of it.About letting imagination lead, wherever it wants to go.

Sometimes it’s funny. Sometimes it’s unsettling.Often, it’s both.

Now feels like a good time to escape a little—to let our minds bend toward something beautifully strange.

Enjoy some happiness!

Natalie and Paige

More About Paige Cox

Paige Cox, a fiber artist based in North Carolina, is celebrated for her distinctive textile creations and inventive sculptures using paper mache’ and found objects. Known for her experimentation with various materials and techniques like felting, weaving, tufting, and up-cycled art assembly, Paige currently focuses on creating art to help us escape.

Infusing her work with lively colors and textures, she brings a playful touch and a sense of humor to her pieces. Paige strives to make her art approachable, inviting people to engage with art and enjoy experiencing works made to provoke a smile.

Paige Cox uses fiber like some people use fireworks: loud, unpredictable, and guaranteed to leave an impression. This North Carolina-based artist spins vibrant sculptures from tufted yarn, scrap fabric, and bits of upcycled treasures she finds irresistible. Her art is rooted in whimsy, but her vision is clear: fiber is a tool for connection, not just decoration.

Tufting anchors her process—quick, immersive, and joyfully chaotic. Her pieces vibrate with energy, overflowing with color and touchable texture. There’s a sense of invitation in her work, a wink of mischief that says: come closer, it’s okay to laugh.

Cox doesn’t stay still. She leaps between mediums—felting, weaving, found-object collage—guided by a love of the unexpected. Materials are sourced from anywhere and everywhere, reimagined into forms that feel both familiar and fantastical.

Her goal? To make art that resonates on a gut level—fun to look at, fun to think about, and maybe even fun to hold. She’s not afraid of color, not afraid of play, and definitely not afraid to remind us that art can be strange and sincere at the same time.

To learn more follow Paige on instagram @paigecox_art

More About Natalie Schorr

Born into the waning days of the Eisenhower administration, Natalie’s work is influenced by her memories of the 1960s and 70s, and is usually based on people and emotions rather than places or things.

Natalie Schorr spent 12 years working as an art director and set designer in motion pictures and television before leaving to raise her children. Her early work focused on realistic drawing and watercolor. In 1999, she added printmaking to her skills, experimenting extensively with early photopolymers and other nontoxic methods.

Over time, Natalie’s work has become more focused on analog collage mixed media, frequently employing printmaking as a starting point. Her current work includes old and recycled items, with works primarily relating to memory and social comment arising from past trauma. Natalie believes that in a perfect moment, mixed media brings together all her skills to create something no one skill or medium could possibly express.

After living in several cities over 4 states, Natalie recently returned to Greensboro, NC. She holds a BFA in Costume Design from the University of North Carolina Greensboro, and an MFA in Scene Design from Carnegie Mellon University. Her studio includes a large printing press and an embarrassingly comprehensive supply of old magazines, wallpapers and ephemera.

My work comes from my personal experiences and memories, and it expresses feelings I cannot adequately explain with words. As with most pop surrealism there is usually an element of humor that’s obscure, which helps me cope with life.

To learn more visit her website here and follow her on Instagram @natalieschorrart

Greensboro Project Space Weekly Hours

Tuesday-Friday, 12-5p

Saturday, 2-5p

that which remains art exhibition
2025-09-16 12:00 - 2025-09-27 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
That Which Remains

Exhibition by Leigh Ann Hallberg and Paul Bright

September 16 – 27, 2025

*Reception: Friday, Sept 19th | 6-8P

*Gallery walk-through with artists, 6:30p

More About That Which Remains

Beginning with our hominin ancestors, artists have always made use of found materials, recovered objects, and their specific qualities to create art. But increasingly, materials for art became subsumed mostly as vehicles for depiction and expression; as a means to an end. The singular qualities of the materials of art begin to reassert themselves in the late 19th C, not merely coincidentally with the rise of photography. The photograph, so successful in recording the specificity of surfaces, the lighting and chiaroscuro of forms, the “facts” of appearances, allowed a medium like paint to more freely exhibit its inherent qualities, even when used in the service of depiction. (Much of Impressionism was structured and animated by this interplay of the physicality of evident paint and the expression it facilitated.) The introduction of collage in Cubism and the conceptual deployment of found objects in the work of Duchamp et al, brought intense focus on the materials of art as well as the proposition that art no longer needed be as created as it had been. It could be composed of preexisting things, found and repurposed objects, in a new, industrialized world of burgeoning objects of all kinds. The artist’s role in this context was largely that of selector – not unlike a photographer taking a picture – finding or stumbling across the right object to convey an intended meaning, a meaning which very often arose in part from the found object itself, which carried a history of past use and significance that intertwined with its new role as art object. Improvisatory, aleatory or chance methodologies often guided selection of the objects and the creation of these works. Our work in That Which Remains acknowledges this lineage and these approaches in varying degrees.

Our respective work is diverse in the forms it assumes, in its intentions, and in its stylistic permutations. But in That Which Remains, we are presenting works that share

a focus on traces, palimpsests, residue, and remnants. With the commonality of being made from detritus, from the Found, of discarded parts and fragments, the works evince improvisation, construction, and accretion as compositional methods. The work is varied but coheres through conceptual, aesthetic, and visual overlaps. Our interventions on our chosen objects can be minimal or subtle, but they are significant.

Leigh Ann’s work evinces a preoccupation with lineage, phenomena of “nature,” and scales of time and experience, in both the outer and inner worlds of human experience and the related proportionality of abstraction and figuration. It incorporates manipulated and reconfigured heirlooms; a woman’s dress gloves (Chirality); a sectioned and reconfigured Murray Bay wool blanket (Murray Bay: Standing Wave; a broken plate with inscribed figures of a seemingly runic numerology (3:2); re-embroidered linens (Leighs, Nana’s Helix); and durational paintings called Accretions. She also presents an elegant metaphor for our toxic, over-consumptive present, Core Sample, a totem holding layered and compressed plastic waste, reminiscent of glacial ice samples containing the stratified atmospheric history of eons.

Paul’s are fundamentally abstract works, even when they are composed of figurative or recognizable elements. They eschew or disrupt narrative. They traffic in advertising imagery – the “de/collages” of found materials and removed posters, the serendipitous Tear Sheets – and the found materials that pervade our lives (Just Like A Box). He is interested in how the physical degradation of their components mirrors their materialist and often retrograde messages. However, when these elements and ambiguous images are recontextualized in collaged compositions, they reveal an unexpected poetry. This is also elicited from the “aural quotidian” in his sound collages’ arrangement of found and recorded sounds (Wet in Dry), while the direct, minimal contrasts of topical printed matter (of Minor Interventions) opportunistically reveals the unintended irony or ready-made satire of their sources.

Greensboro Project Space Weekly Hours:

Tuesday-Friday, 12-5p

Saturday, 2-5p

Crossing the Coulee
2025-10-16 09:00 - 16:00, 2025-10-16 09:00 - 2025-10-19 04:00, 2025-10-17 09:00 - 16:00, 2025-10-20 09:00 - 16:00, 2025-10-21 09:00 - 16:00, 2025-10-22 09:00 - 16:00, 2025-10-23 09:00 - 16:00, 2025-10-24 09:00 - 16:00 and 17 more dates | UNCG Gatewood Studio Arts Building, 527 Highland Ave, Greensboro, NC, United States
Kate Gordon’s studio practice focuses on painting in the expanded field, sourcing inspiration from pop-up books, dioramas, and collage. The dream imagery that Gordon mines aims to capture the strangeness of the waking world, which is often not as logical as it might at first appear. Gordon has shown her paintings, collages, and video works nationally; exhibitions include a site-specific installation “Alligator Naps” at the Hilliard Art Museum, curation into the Weatherspoon Art Museum’s “Art on Paper” exhibition, and an invitation to create a public video installation at Block 2, a visual platform for new media artists in Raleigh, NC. Most recent professional accomplishments include participation in Kolaj Institute’s Artist Residency in Scotland, curation into “Is This Too Much?”, a maximalist exhibition at Le Mieux Galleries, and inclusion in the “Louisiana Contemporary” exhibition at the Ogden Museum of Southern Art. Gordon currently holds the position of Associate Professor of Figure Drawing & Foundations at the University of Louisiana at Lafayette. She earned an M.F.A. from the University of North Carolina at Greensboro and a B.F.A. from Pratt Institute.

Exhibition runs October 16 – December 5, 2025 Monday – Friday, 8am – 4pmArtist Talk and Reception October 16, 4:30pm

Collage
2025-10-25 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
The UNCG School of Music is proud to present our 18th annual performance of Collage at 7:30 PM on October 25, 2025! We are excited to welcome audiences back to UNCG Auditorium for our most exciting event of the year!

Collage is captivating and totally unique, featuring an incredible range of performers presenting one riveting work after another with special lighting. Join School of Music students and many of our world-class faculty members for this non-stop evening of amazing performances. It’s not to be missed!

All ticket proceeds benefit the School of Music Collage Scholarship Fund.

SectionAdultsSeniorsStudentsSection Afront orchestra, mezzanine$27$22$17Section Bmiddle and rear orchestra, lower balcony$20$16$12Section Cupper balcony$15$11$8

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