College of Visual and Performing Arts

Crossing the Coulee
2025-10-17 09:00 - 16:00, 2025-10-16 09:00 - 2025-10-19 04:00, 2025-10-16 09:00 - 16:00 (America/New_York) | 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

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

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

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

Summer Studios: Arts on Site! The GPS Student Artist Residency Program
2025-08-04 12:00 - 2025-08-16 17:00 | 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.

Third Annual BA ART Exhibition
2025-05-06 12:00 - 2025-05-10 20:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Third Annual BA Art Exhibition 2025

Curated by UNCG Students Sarah Dawkins & Beyonce Kee

Exhibition: May 6 – 10, 2025

Reception: Saturday, May 10th, 6-8p

This is the third annual instillation of the Bachelor of Arts Student Art Exhibition. This exhibition is rooted in giving BA majors a space to exhibit the work they’ve been working on throughout their degree. BA students approached Greensboro Project Space to open an exhibition to celebrate graduating BA students. Many students had compiled work throughout their degree and wanted to share. Pursuing a BA gives students a wide net to cast into creative waters as we pursue academia in the arts. Having a collaged community of artists studying in this context gives us creative exposure to each other’s making practices as we share our work within and outside of that community.

More About Curator, Sarah Dawkins

As my art studies have altered during my time at UNCG my love and admiration for the study of art and the space has only grown as this expansion is embedded in my practice. Being exposed and encouraged to a range of materials and methodology through study of art history and portfolio building early on with peers specifically has been so broadening for my psyche and life. I’m taking away creative broadening treasures with me, passed down from well versed faculty that I will use throughout my practice.

More About Curator, Beyonce Kee

As a BA student and student curator, I co-curated this exhibition not just to uplift our peers but because curating became an unexpected passion that grew from my love of building artistic community. My first experiences organizing shows revealed how powerful it is to create space for others, and this exhibition continues that mission. With no set theme, the work on display reflects the individuality, experimentation, and vision of each artist. This show is both a celebration and a declaration: that our voices matter, and that curatorial work can be an act of care, advocacy, and joy.

Featuring Student Artists

Alexis Guieb-AlimbuyuguenBeyonce KeeJadeja GainesJordan VadenLinda Parker BoikeMegan DeetsMorgan JarczaszekRachel WitzelSarah DawkinsSarah HinesSparrow Ussery IntintoloThea NettletonZainab Adamou-Mohamed

Greensboro Project Space Open Hours:

Tuesday – Friday, 12-5p

Saturday, 2-5p

Constructed Discontent: MFA Art Thesis Exhibition
2025-04-08 12:00 - 2025-04-12 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Constructed Discontent

MFA Thesis Exhibition

by Celena Amburgey

Exhibition: April 8-12, 2025

Reception: Friday, April 11th, 6-8p

Constructed Discontent explores the fragile yet forceful process of self-definition, interrogating the tension between inherited narratives and those we create for ourselves. Through layered materials, fragmented imagery, and reassembled histories, this body of work challenges the structures that shape personal and cultural identity, questioning the forces that confine, shape, and ultimately reshape our sense of self.

At the core of this exhibition is an exploration of disruption and reconstruction—both emotionally and materially. Found objects, repurposed textiles, and unconventional surfaces serve as stand-ins for history and memory, revealing how identity is constantly built, unmade, and remade. The work reflects on familial myths, cultural expectations, and the weight of external perceptions, exposing the internal struggle between belonging and individuality.

Amburgey’s process is deeply tied to time and labor—sewing, layering, embedding, and obscuring. This physical engagement mirrors the psychological work of undoing past narratives and constructing new understandings. Materials such as plastic bags, burlap, and personal artifacts underscore the tension between value and disposability, reflecting the artist’s ongoing interrogation of what is cherished and what is discarded—in material form and in personal history.

By confronting discontent as a catalyst for transformation, Constructed Discontent explores how discomfort can become a space for healing. Rather than seeking resolution, these works engage in the slow, layered process of re-examining, reconstructing, and reclaiming identity. Through these acts of making and unmaking, the exhibition offers a space where the past is not erased but actively reworked—suggesting that, like identity,—healing is a process of persistence, choice, and re-visioning

More About Celena

Through painting, collage, and layered materials, I explore identity’s fragile and fluid nature, a journey ignited by the seismic revelation of a DNA test in 2021. This discovery fractured the foundations of my carefully constructed self, shattering it into fragments. Art became my means of reassembly, transforming personal reckoning into a universal meditation on resilience and reinvention. Each work reflects the process of claiming agency over inherited narratives—truths and deceptions—to construct a more intentional identity shaped by acceptance, understanding, and choice.

At the heart of my practice is the act of layering, where paint, collage, and family photographic archives converge to reconstruct identity. I use paint as collage, merging fragments of memory with the past and present to reshape my understanding of self. Once static relics, these inherited photographs become dynamic surfaces where paint and collage obscure, alter, and reveal, collapsing time and reshaping personal history. While rooted in personal experience, this process extends beyond self-exploration, questioning how identity is shaped by familial memory, collective history, and materiality. The layering of images and textures mimics how identity is formed—through accumulation, erasure, and reinterpretation. Like identity, objects are never static; they carry the weight of time, labor, and memory, continuously reshaped by use and perception.

Materials like pennies, burlap, and bed sheets carry layered histories, their transformations mirroring the shifting nature of value and belonging. Tarnished pennies, once insignificant and easily overlooked, become markers of perseverance and worth, reflecting how meaning is shaped by perception and context. With its rugged texture and utilitarian past, burlap speaks to resilience—stitched, stretched, and painted upon, it becomes a foundation for deconstruction and renewal. Once bearing the weight of familiarity and comfort, bed sheets are repurposed as vessels for new narratives, their fibers holding the echoes of past lives while offering space for reinvention. By repurposing these materials, I explore how objects, like identities, are never static but continuously reshaped by time, labor, and memory.

My work is a quiet rebellion, where past and present collide, discarded things breathe again, and vulnerability holds weight like stone. Here, identity is not fixed but fluid, not given but claimed, not lost but waiting to be seen. Even the fragments—the forgotten, the fractured, the worn—hold infinite possibilities, if we dare to see anew.

Greensboro Project Space Open Public Hours

Tuesday-Friday, 12-5p

Saturday, 2-5p

Collage
2024-10-26 19:30 - 21:00 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
The UNCG School of Music is proud to present our 17th annual performance of Collage at 7:30 PM on October 26, 2024! We are excited to welcome audiences back to UNCG Auditorium for our most exciting event of the year with a new date! Get into the spooky spirit with special lighting, haunting music, and non-stop scintillating performances!

Collage is captivating and totally unique, featuring an incredible range of performers presenting one riveting work after another. 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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Those Known To Me Art Exhibition
2024-01-23 12:00 - 2024-01-27 17:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Those Known To Me
Solo Exhibition by Morgan Hesse

January 23 – 27, 2024
Reception: Friday, January 26th | 6-8P

Those Known To Me is a series that explores family members only known to me by stories told. With the use of digital collage and cyanotypes, I learned about these relatives. The materials used for the cyanotypes are from the area in which these relatives lived and worked. Bricks from a chimney from the street they lived to fabric that represents the mill they worked. Cardinals scattered throughout symbolize passed loved one’s, checking-in on those they left behind.
Even those they didn’t know.
Like me.

More About Morgan Hesse
Morgan Hesse lives and works in North Carolina. Hesse works in digital and film photography, as well as alternative processes. Her work explores loneliness and growing up as a young girl in the South, online culture, and family members only known to her by stories told. Hesse currently attends the University of North Carolina Greensboro earning a BFA in Photography.

To learn more, visit our website here
Greensboro Project Space Weekly Gallery Hours:
Tuesday, 1-6pm
Wednesday, 10a-3pm
Thursday, 1-6pm
Friday, 12-5pm
Saturday, 2-5pm

Collage
2023-10-28 19:30 - 21:30 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
PURCHASE TICKETSDOWNLOAD PROGRAMCOLLAGE WEBSITEPERFORMANCE CALENDAR

GIVE TO THE COLLAGE FUND
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The UNCG School of Music is proud to present our 16th annual performance of Collage at 7:30 PM on October 28, 2023! We are excited to welcome audiences back to UNCG Auditorium for our most exciting event of the year with a new date! Get in the spooky spirit with special lighting, haunting music, and non-stop scintillating performances!
Collage is captivating and totally unique, featuring an incredible range of performers presenting one riveting work after another. 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.

Ticket Prices
Click to view the UNCG Auditorium seating chart.

Section
Adults
Seniors
Students

Section A
front orchestra, mezzanine
$26
$21
$16

Section B
middle and rear orchestra, lower balcony
$19
$15
$11

Section C
upper balcony
$14
$10
$7

*Ticket prices do not include fees for credit card processing or mailing of tickets.
Note: Due to the production design utilizing multiple locations around the auditorium, certain parts of the performance may be out of the direct sightline from seats in each price tier.
**All seating is reserved. Please order tickets in advance.**

Liszt: Hungarian Rhapsody No. 2
Annie Jeng and John Salmon, piano

Beethoven: Choral Fantasy (Finale)
Symphony Orchestra, Choirs, and Faculty Soloists
Welborn Young, conductor

Collage Chamber Series
2023-02-05 15:30 - 17:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
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Audience Note
Tickets are required to attend any concert or recital in person. Patrons must sit in their assigned seat. Face coverings that cover the nose and mouth are strongly encouraged, but not required, while inside the performance hall.

Closing Reception for ‘Zaire Miles-Moultrie’
2022-11-12 18:00 - 20:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Exhibition on View
When: November 1st – November 12th, 2022
Closing Reception: TBD
Where: Greensboro Project Space (111 E February One Place)
Gallery Hours: Tuesdays-Fridays, 12-5pm; Saturdays, 2-5pm
Solo Show, Featuring: Zaire Miles-Moultrie
More About The Lion, The Jackal, and The Man
Learning about Africa, its people, cultures, history, its reach and its effects across the world is not an easy task to do but once you start it’s almost impossible to stop. As an artist it is a wonderland that I enjoy exploring and taking what I learned and transforming it into works of art. This is an experience that I am so glad and appreciative to have however, while learning about the wonders of Africa I also had learn about the terrible beauties, misconceptions, perversions, abuse, and other heinous aspects that Africa and its people had to endure from Western Nations /Colonizers and from within.From this comes The Lion, The Jackal, and The Man a solo art exhibition that explores the cultures, histories, and peoples within Africa. The works in The Lion, The Jackal, and The Man is a direct acknowledgement of the beautiful, the good, the bad, and the inconceivables of the history and cultures within Africa.
The Works within The Lion, The Jackal, and The Man comprise of surreal collages, drawings, illustrations, and prints of original art by Zaire Miles-Moultrie. Each piece aims to tackle a wide range of subject matters while also enticing the viewer to come up and look closer at each piece that is on display. Ultimately the aim of this exhibition is to expose the viewer to the many cultures and peoples of Africa while acknowledging and combating their own ideologies, perceptions, and biases regarding Africa.

More About Zaire
Zaire Miles-Moultrie was born in the sunny state of California but raised and grown in the old North State of North Carolina. At a young age he was introduced to the world of art through comic books and his love for the arts grew immensely throughout the years. After picking up his first pencil and drawing his very first line he was never able to stop himself from learning more about his passions and himself. Currently Zaire is enrolled at the University of North Carolina at Greensboro (UNCG) pursuing his degrees in Entrepreneurship and a B.F.A. in studio art with a concentration in Printmaking and Drawing. At the moment he has an interest in researching and learning more about modern Afro-Centric artists, art, and sustainable art and business practices.
As I grow as an artist I always want to continue to grow my sources of inspirations whether it be from paintings, sculptures, cultures, histories, peoples, etc. By using printmaking and drawing as my medium of choice I can express myself, my voice, and message in a multitude of ways while also paying homage to inspirations. My art, designs, drawing, and prints are collages of the many ideologies that I have come to learn, accept, and embody like blackness, negritude, intellectualism, love, and allyship. This leads me to combat harmful and hateful ideologies that go against my very core as an artist and as a human being.
https://www.greensboroprojectspace.com/blog-post/the-lion-the-jackal-and-the-man

Closing Reception for ‘Unboxed: an Anti-Exhibit’
2022-11-11 18:00 - 20:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Unboxed: an Anti-Exhibit
A Group Show Featuring UNCG Student Artists

Curated by GPS Interns Peter Deligdisch and Abby Weatherholtz
November 8 – 12, 2022

Reception: Friday, November 11th, 6-8PM
with live demo from artist, Kristen Dixon

More About The Show
“Unboxed: an Anti-Exhibit” is a collaborative show featuring work by undergraduate CVPA students at UNCG and curated by GPS student interns, Peter Deligdisch and Abby Weatherholtz. The show challenges the traditional use of gallery space, bringing into question what type of work “deserves” to be placed in a spotlight and how artwork is “supposed” to be displayed in a professional setting. We use imaginative methods of installation to construct an anti-exhibit that can be experienced in an exciting and unconventional manner. We hope that this show will allow for an accessible experience for everyone who comes to it with an open mind and ready hands to play.

More About Abby
Abby Weatherholtz is a senior simultaneously pursuing a B.F.A. in Painting and Drawing and a B.S. in Psychology. She is interested in multi-media and textural work such as impasto painting, paper folding and manipulating, collage, textiles, and others. Her concepts discuss LGBTQIA+ rights, mental health, and the intimacy involved in domestic life.

Curatorial Thoughts from Peter
The struggle of defining art has been going on for as long as anyone can remember. As an undergrad intern at GPS this semester, I’ve been granted a glimpse at the role that art galleries play in this effort. Contrary to the way we usually interact with art out in the world, galleries and museums most often display art in a sterile and pristine environment. There are obvious benefits in this kind of presentation, but after a while it starts to subconsciously enforce an idea of exclusivity. The idea that only that which is exhibited a certain way is art, and everything else is not. “Unboxed”, is a small attempt to present art in a more inclusive way that works against that trend. An anti-exhibit.

Featuring UNCG Student Artists:
Kyla Fisher
Kristen Dixon
Brenda Fonseca Martinez
Ellison Rauch
Shayla Scales
Bjorn Bates
Caitlin Parris
Joseph Hodge
Ashe Smith
Eden Wells
Alaina Hooks
Luna Roberts
Beyonce Kee
Sophia Dominici
Wesley Durham
Iris Choi
Montana Norman
Marvin Cano

https://www.greensboroprojectspace.com/blog-post/unboxed-an-anti-exhibit

Unboxed: an Anti-Exhibit
2022-11-08 - 2022-11-12 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA

Zaire Miles-Moultrie Exhibition @ Greensboro Project Space
2022-11-01 - 2022-11-12 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA

Closing Reception for “23 Chunks of Being”
2022-10-21 18:00 - 20:00 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
Exhibition on View
When: October 11th- October 22nd, 2022
Closing Reception: October 21st 6:00pm-8:00pm
Where: Greensboro Project Space (111 E February One Place)
Gallery Hours: Tuesdays-Fridays, 12-5pm; Saturdays, 2-5pm
Solo Show, Featuring: Greg Grieve
23 Chunks of Being – A Retrospective
The Dungeon Master ofMeanings
As a major contributor to the emerging study of religion andvideo games, Gregory Price Grieve, Head of the Religious Studies Department atThe University of North Carolina at Greensboro, researches and teaches Asianreligions and popular culture. His retrospective of photo-collages, paintings,sculptures, videos, and installations spans almost forty years, with many showntogether for the first time. His artistic expression explores the ideasconnecting his research interests without having to resort to the fixedmeanings required in academic language.
Grieve uses collage, assemblage, montage, andinstallation–techniques originally employed by the early 20thcentury avant-guard movements. The Dadaists, Surrealists, and earlyConceptualists reinvented the role of artist with strategies to battle ossifiedinstitutions. Their materials and techniques could satirize social conventions,undermine the certainty of rationality, or embody the sensory and informationaloverload that was part of modernization. Similarly, Grieve uses found photographic images, many from the Library of Congress,and found objects, combining them to create apersonal language. Their layering,superimposition, transparency, and montage unify his source materials with a new logic. The resulting aestheticis one of free-associative flows, lucid dreaming, and humor with titles thatplay with etymology, imply conceptual readings, or make cross-disciplinaryreferences to add an additional layer of interpretation.
In this electric moment, as thephysical atomizes into data and perception into pixels, Grieve’s retrospective isnot just a collection of objects. It’s an archive of a life understanding itself. The artist becomesa dungeon master, the viewer a willing player, andthe artworks in ’23 Chunks of Being’ componentsin a game of embracing the groundlessness we navigate.
(Ryan Hill, Professor and Directorof Sculpture Tucson)

23 Chunks of Being Exhibition @ Greensboro Project Space
2022-10-12 - 2022-10-22 | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA

Kaylan Buteyn: “Careworn/Carefree”
2022-10-03 09:00 - 16:00 | Gatewood Studio Arts Center, 527 Highland Ave, Greensboro, NC 27412, USA, 527 Highland Ave, Greensboro, 27412, United States
Kaylan Buteyn holds an MFA from the New Hampshire Institute of Art. Her work investigates physical representations of generational care through paintings, quilts, domestic textiles, abstraction and collage. She has exhibited in galleries and community spaces internationally.

Exhibition Opens October 1 and runs through December 1.
The Gatewood Gallery is open Monday – Friday 9:00 – 4:00pm
A Reception will be held October 26, from 3:00 – 5:00pm

Collage
2022-09-17 19:30 | UNCG Auditorium, 408 Tate Street, Greensboro, NC, 27412, United States
PURCHASE TICKETSCOLLAGE WEBSITEPERFORMANCE CALENDAR

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The UNCG School of Music is proud to present our 15th annual performance of Collage at 7:30 PM on September 17, 2022! 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. 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!
Collage will follow all state and university COVID safety guidelines.
All ticket proceeds benefit the School of Music Collage Scholarship Fund.

Ticket Prices
Click to view the UNCG Auditorium seating chart.

Section
Adults
Seniors
Students

Section A
front orchestra, mezzanine
$26
$21
$16

Section B
middle and rear orchestra, lower balcony
$19
$15
$11

Section C
upper balcony
$14
$10
$7

*Ticket prices do not include fees for credit card processing or mailing of tickets.
Note: Due to the production design utilizing multiple locations around the auditorium, certain parts of the performance may be out of the direct sightline from seats in each price tier.
**All seating is reserved. Please order tickets in advance.**

Liszt: Hungarian Rhapsody No. 2
Annie Jeng and John Salmon, piano

Beethoven: Choral Fantasy (Finale)
Symphony Orchestra, Choirs, and Faculty Soloists
Welborn Young, conductor
