annual community small works art Exhibition
2026-03-17 12:00 - 2026-03-21 17:00 (America/New_York) | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
GPS’s Annual

Community Small Works Show 2026

March 17 – 21, 2026

Reception: Friday, March 20th | 6-8P

Greensboro Project Space is pleased to announce its third annual community exhibition that features works by our local and regional artists. Through this exhibition we explore the depth and range of creative practices that flourish in Greensboro and beyond. We encourage community members to express themselves in any way, activating our space with playful contrasting dimensions and diverse visual approaches, across many artistic mediums.

Say It Loud art exhibition
2026-03-03 12:00 - 2026-03-07 17:00
Say It Loud

A Student Exhibition by North Carolina A&T Visual Arts Department

March 3-7, 2026

Reception: Friday, Mar 6th | 6-8P

More About Say It Loud

Say It Loud, inspired by the iconic James Brown anthem, is an exhibition that embraces the notion of making a statement with unwavering confidence. In the North Carolina A&T Visual Arts Department we strive to develop confident, unapologetic, and free-thinking artists that aren’t afraid to have their message heard. The works in this exhibition range from personal to collection narratives expressed through multiple mediums representative of what our artists think, feel, and know about the world. We feel that in the current landscape it is more important than ever to speak up and, as James Brown said, “SAY IT LOUD!”

UNCG School of Art Faculty Exhibition
2026-02-17 12:00 - 2026-02-28 17:00
UNCG School of Art Faculty Exhibition

February 17 – 28, 2026

*Reception: Friday, February 27th | 5-7P

*The reception on February 27th is free, but advance registration is strongly encouraged. Registration link here.

The School of Art Faculty show is an exhibition that both reflects and celebrates the individual creative activity of the School of Art faculty.

Featuring Artwork by

Topher AlexanderMarian Taylor BrownHugh Condrey BryantRodgers DameronKarrington GardnerDan HaleHeather HolianTamra HuntBlas IsasiClaire IttnerNatasha LehnerJennifer Helen MeanleyLindsay MetivierKelley O’BrienKasia OzgaElizabeth PerrillMichelle PodgorskiRachele RileyKate RobinsonKendrick ShacklefordNill SmithMariam Aziza StephanBarbara Campbell ThomasChristopher ThomasKevin VanekEmily VoelkerLeilei XiaHeidi Zenisek

Paid parking art exhibition
2026-02-10 12:00 - 2026-02-14 17:00
Paid Parking

Exhibition by Kate Robinson & Heidi Zenisek

February 10-14, 2026

Reception: Friday, Feb 13th | 6-8P

More About Paid Parking

Run, don’t walk, to Iceland’s hottest new attraction. If you’ve never been to Gjaldskylda, you’re missing out! At least that’s what the hundreds of tourists tagging it on social media would like you to think. What is it, you ask? A parking lot. More specifically, it’s a parking lot that requires payment. Iceland has a specific online identity, carefully crafted by the Icelandic Tourism Board. The Land of Fire and Ice, renewable energy, Northern lights, geothermal spas… but as a trip to Gjaldskylda will illustrate, social media can be deceiving.

What is Iceland beyond the oversaturated Instagram photos of waterfalls and TikTok drone footage of mountains? This exhibition is a collection of works that inadvertently explore this question. Heidi and Kate have had transformative experiences in Iceland over the years, returning time after time to recharge their creative batteries and weave themselves into the culture. Upon return home, moments of these trips find their way into their practices. This show is the result of their curiosity about the overlaps in their work inspired by Iceland and how their similar experiences have manifested in different ways.

More About Kate & Heidi

Heidi is an exaggerator of the sun and was raised by the moon. Surrounded by dirt, corn, cows, and rust, she was born in a barn to humble farmers. Soon after, she became an Eastern Iowa 4-H child prodigy, winning more ribbons than one can count. With those glory days well behind her, she now spends her time making work that doesn’t necessarily depict the land, but is of the land.

Having witnessed firsthand the whimsy and brutality of nature, her farmstead childhood has uniquely shaped the lens through which she views the world. Time is measured by the color of the fields and when babies are born. Vast expanses of crops are raised, harvested, and migrated. Large quantities of material are vigorously used for months, then discarded or replaced, and certain animals are only as valuable as their ability to procreate. Though her work often shifts in form, material, and concept, those experiences will always underlie her practice. Heidi’s rural upbringing has taught her the difference between looking and seeing, hearing and listening.

It defined her understanding of good and bad

Collapsed the distance between life and death

Then showed her how to explore what lies in between.

With the rise of social media and AI, Heidi has become interested in how we interact with what’s real. Throughout history, from cave paintings to cathedrals, from Monet to Ansel to Olafur, humans have sought to capture and recreate nature. Before smartphones, we made film slideshows, traded shot glasses painted with palm trees, drew sketches, collected rocks, pressed flowers, and wrote songs. Today, we extend that impulse into the digital realm, archiving obsessively with phone cameras and uploading as a souvenir, proof, or memory.

Heidi’s work questions whether this pursuit of simulating the isness of nature and the phenomena of the cosmos can be achieved. The wonder of the aurora borealis, the solitude of standing in an infinite field, the shimmer of moonlight on the ocean that causes something in your chest to expand–they are reminders that awe is as much a physical experience as it is an emotional one. Can that be recreated?

Learn more about Heidi: heidizenisek.com / @theheidz_

Visual Voices art exhibition
2026-02-03 12:00 - 2026-02-07 17:00
Visual Voices

A Typographics Group Exhibition

Curated by Rachele Riley

February 3-7, 2026

Reception: Friday, Feb 6th | 6-8P

More About Visual Voices

Visual Voices is a group exhibition of recent typographic design works created by UNCG students under the guidance of Rachele Riley, Associate Professor of New Media and Design. Represented are works from the classes, Typographics I and II—courses within the School of Art’s New Media and Design area which are focussed on typography and visual communication design. All works on view were created within a remote studio classroom set up. The exhibition highlights a selection of conceptual, aesthetic, technical, experimental, and message-making explorations. Viewers will encounter diverse projects and multiple perspectives, among them, individual projects on the theme of an aphorism, typographic patterns, and unique modular typeface designs.

american pony art exhibition
2026-01-27 12:00 - 2026-01-31 17:00
American Pony

Solo Exhibition by Constantine Kerasilis

January 27-31, 2026

Reception: Friday, Jan 30th | 6-8P

More About American Pony

American Pony is a group of work consisting of paintings, drawings, prints, and sculpture focused on the psychology of Americans under the rise of fascism. Simplified and abstracted within the metaphor of tortured ponies, this series is autobiographical in nature. Each work weighs morals, dreams, fears, self perception, and unity amongst Americans over the course of 2025. Specifically the year that changed countless lives affected by American politics and social climate. The world as I know it rapidly changes, for better or worse, these ponies are saturated in analogies to process change, they represent me and reflections of myself I see in so many others. Viewers are invited to think of themselves as I bear my mind for all to see and explore the complexities of their own mentality.

More About Constantine

Constantine Kerasilis is an emerging visual artist based in Greensboro, NC. Sculpture, painting, drawing, and printmaking are all part of his visual language. He has graduated from the University of North Carolina Greensboro with a Bachelor’s in Fine Arts with a concentration in Printmaking & Drawing. He is inspired by the parallels of history, his psychology, and the socio/political climate of America. These themes are often laid within metaphorical visuals and experimental mixed media.

Follow Constantine @constantinekerasilis / visit his website: constantinekerasilis.com

Ghost choir art exhibition
2026-01-13 12:00 - 2026-01-24 17:00
GHOST CHOIR

Solo Exhibition by Jason Lord

January 13-24, 2026

Reception: Friday, Jan 23rd | 6-8P

More About Ghost Choir

GHOST CHOIR is the convergence of a recurring image in my work and a studio practice that embraces the alter ego as generative disruption.

In the winter of 1996, in a moment of intense emotion, a sound came through me. What began as a wail became an emanation connecting the earth’s core, through me, to every star and planet. The sound was so old and so large I didn’t even try to claim it as my own, even as a self-centered 23-year-old. The sound was not from me, but it came through me, connecting me to everything and everyone, everywhere.

In and out of my studio, I experiment with rules. Sometimes I use alter egos–embodied sets of rules–to push or disrupt certain predictable outcomes in my work. Each of these personae have a visual language and a mode of operation. This work is four of these studio personae–Otto, Santiago, Tammy, and Njezan–making sense of the sound that came through me all those years ago, performing its song in four-part harmony, conducted by me.

More About Jason

Jason Lord is an interdisciplinary artist, designer, and educator working in the American South. He grew up in a working-class, Catholic family in rural Vermont, where he inherited the experimental resourcefulness of the small town tinker, inventing and building objects, images, and worlds out of humble materials

He utilizes an expansive toolbox of materials, processes, and strategies for thinking and making, engaging in rigorous conceptual, material, and procedural experimentation through drawing, installation, painting, print, sculpture, assemblage, book arts, social practice, music composition and performance, writing, sound, video, photography, and their many intersections.

Jason has been the recipient of a McColl Center Residency, a Vermont Studio Center Fellowship, the Windgate Distinguished Fellowship for Innovation in Craft from the Hambidge Center, a Winter Residency Fellowship at Penland School of Craft, a North Carolina Arts Council Artist Support Grant, a CERF+ Grant, a National Gallery of Art Teaching Fellowship, and residencies at the Peter Bullough Foundation, the Virginia Center for the Creative Arts, LEVEL Retreat, and Pocosin Arts. He has exhibited in numerous group and solo shows and taught classes and workshops to K-12 students, undergraduates, and adult learners in schools, museums, and art centers. He holds a BFA in Studio Art from the University of North Carolina-Chapel Hill and an MFA in Studio Arts from the University of North Carolina-Greensboro.

Artist Statement

My work begins with close looking. I am drawn to the small, often overlooked moments where material, environment, and perception meet—shifts in light, the accumulation of marks, the fragile edges where one form becomes another. These moments become the raw material for a practice that moves between drawing, sculpture, installation, and other time-based processes. Across these modes, I explore the relationship between parts and wholes, the mutability of the self, and the ways identity is shaped by instability, memory, and environment.

I often build systems that underscore possibility and invite change: modular structures that reconfigure with each installation, drawings composed of repeated gestures that evolve over days or weeks, and cyanotypes or cast forms shaped by weather, light, or erosion. I investigate how meaning gathers over time, how fragments communicate with one another, and how an artwork can become a living record of attention.

Environmental and human ecologies inform much of my current research. I treat the studio, the field, and the classroom as interconnected sites of observation and experimentation. Small, everyday phenomena—shadow patterns in winter light, weather-worn surfaces, discarded fragments—become openings into larger questions about presence, change, and the construction of meaning. In this sense, my work is as much an inquiry into perception and attention as it is a material practice.

Ultimately, I aim to make work that activates curiosity and invites viewers to slow down and notice how the world is built: not all at once, but bit by bit, through relationships among parts, and through moments of fluctuation and renewal.

childish work art exhibition
2025-12-09 12:30 - 2025-12-13 17:00
Childish Work

Curated by Inga Manticas

December 9- 13, 2025

Reception: Friday, Dec 12th | 6-8P

Featuring Works by

Quan ApolloConner CalhounSammi EadyZaire Miles-Moultrie & Will HarveyMelanie McAllisterMegan Mehtameow meowMaggie MurphyPascal PeppeSabi ReyesMallie SanfordWendy SmallNill Smith

More About Childish Work

Over the last several years, I’ve noticed the adult artists around me increasingly using mediums, processes, and imagery traditionally associated with children’s art. Finger-painting, dolls, comic strips, family photos, imaginary friends, toilet humor, miniatures, scribbles, stencils, stickers, and proudly amateurish craftsmanship started to show up everywhere in my friends’ artwork, and in mine. As we approached 25 or 30 or 40, we seemed to be reaching back further into our creative histories for our materials and inspiration.

My peers weren’t afraid of their work being labeled “childish.” Rather, they welcomed comparison to the work of children, and sought out resonance with the artwork that they themselves had made as kids. This way of working wasn’t purely escapist. It wasn’t a rejection of the complexities of the world in favor of simplicity or ignorance. Rather, these artists were each trying to weave a different form of consciousness – a childlike consciousness – into their work, to access parts of their world that were much less rich, or perhaps simply incomprehensible, when explained through purely “adult” terms.

So, the title of this show, Childish Work, turns an insult into an aspiration, or a genre. The show brings together fourteen artists who I have met in New York and North Carolina, each with a different connection to making childish work.

Some of the artists in the show make work out of found objects taken directly from their childhoods, like dollhouses and Fisher Price TVs. Others paint with their fingers or draw scenes on Shrinky Dinks. Others emulate the graphic styles of coloring books and comics. Others attempt to recreate distant childhood memories. Others make works that reference the forms of toys and dolls: objects that could hypothetically be played with, but also demand closer observation and may even repel touch.

Some of the artists in the show are current or former child educators, others are parents, others are the children of other artists in the show, others have collaborated directly with children to make the works in the show. Some of these artists appear to be in dialogue with their sense of their own child-self, blending adult precision with childlike play. Others reference childhood from an adult distance or use childlike materials to make an explicitly political statement. Others fully embody a childlike consciousness – or, put more simply, they just behave like children. Here, that’s a compliment.

Curatorial Statement by Inga Manticas

I started this curatorial process with the questions: What does it mean to work in a child-like way, and why do it?

These questions splintered into a myriad of other questions:

•Is childlike work always nostalgic? Can childlike work be future-thinking? Can childlike work live in the present with no clear reference to the past?

•To what extent has children’s creativity been underestimated and/or limited by the mass-produced tools we associate with kids’ arts and crafts? And so what does it mean for an adult to use those same tools? How are these things conditioned by the time in which we were born; our class, ethnicity, and location; the kind of formal education we received?

•What psychological or emotional space do artists tap into to make childish work, and what strategies do they use to reach this space?

•Does childlike work always have something to say about childhood itself? How and why do artists use childlike means to talk about adult experience?

•Is making childlike work always about respecting and valuing children’s intelligence enough to emulate it? Or, when does childlike work mock or objectify the child in order to communicate an adult perspective?

•How does childlike work intersect with other discourses about diverse forms of intelligence, embodiment, and ability?

•What do we often lack or fail to embody when we pursue a state of childlike creativity?

•In what ways do we commonly idealize childhood, and what do we leave out?

•What can an adult artist’s use of childlike strategies in a particular body of work tell us about their practice in general?

The works in this show answer these questions in a lot of beautiful, off-putting, gross, cute, and funny ways.

I once heard a fellow teacher (I don’t remember who, or else I would credit them for this line) say, “Children are closer to our ancestors because they just arrived here on earth; they just came from the place where the dead live.” Our subsequent conversation moved through the idea that children are connected to a sense of time and place that is infinite and undivided, but not untouched by life.

When I think about this, I imagine that as an adult, making childlike work is about pursuing a kind of sight and speech that is expansively connective, but which also bubbles up from a very deep, internal space. It is emotional, immediate, responsive, and unburdened by the performance of sophistication. It is an intelligence that is so unrestrained that it might access some new idea or new realm (whether within us or outside of us) beyond the comfort zone of our “adult” minds. Of course, this is merely an ideal, but I can feel many of the artists in this show reaching towards it – and also just trying to have fun.

Greensboro Project Space Public Hours

Tuesday-Friday, 12-5p

Saturday, 2-5p

Winter 2025 Senior BFA + BA art Exhibition
2025-11-25 12:00 - 2025-12-06 17:00
Winter 2025 Senior BFA + BA

ART Exhibition

November 25 – December 6, 2025

Reception: Friday, December 5th | 6-8P

The School of Art at UNC Greensboro and Greensboro Project Space are proud to announce the Winter 2025 Senior BFA + BA Exhibition. Highlighting the efforts of graduating seniors across all disciplines, this exhibition is a testament to the creative and academic accomplishments made by these artists. Working with ceramics, sculpture, painting, photography, animation, printmaking & drawing, and new media and design, the exhibited works demonstrate a fine-tuned attention to detail, ambitious exploration of material capabilities, and expansiveness of concept. This exhibition demonstrates the persistence, dedication to creative practice, and openness to experimentation that defines the studio arts program at UNCG.

Greensboro Project Space Open Public Hours

Tuesday-Friday, 12-5p

Saturday, 2-5p

But It Was Something About Living art exhibition
2025-11-11 12:00 - 2025-11-22 17:00
But It Was Something About Living

A Collaborative Installation

Isabella Gamez, Maya Rampel, Marin Carr-Quimet, Fig Hendrick

November 11 – 22, 2025

Reception: Friday, Nov 21st | 6-8P

More About But It Was Something About Living

The collaborative installation, But It Was Something About Living, explores the bodily process of digesting grief and how this innately personal experience can become communal. The work is an ongoing conversation between the collaborating artists and a practice in coalition building. The work explores parallels between digestion and processing, between the bodily and the communal, and between material and emotional costs. The installation consists of relics of community gatherings, shared practices, and of exercises in building and brainstorming where we should go from here.

More About the Artists

Isabella Gamez is a printmaker and painter floating between North Carolina and Connecticut. Her work focuses on disease, its relationship with the body, and influences from public health.

Learn more about Isabella here

Maya Rampel is a multimedia visual artist and designer based in North Carolina. Their practice centers on fluidity between mediums and the recombination of familiar elements into new forms.

Learn more about Maya here

Marin Carr-Quimet (they/he/she) works and lives between Asheville, NC and Chapel Hill, NC. They received their BFA from the University of North Carolina at Chapel Hill in 2024, and like to focus on collective and collaborative work. Their work is heavily based in material and the built environment.

Learn more about Marin here or follow them on IG@marin.c.q

Fig Hendrick is a mixed-media artist based in North Carolina. He approaches his work through the themes of death, consciousness, and hope.

Greensboro Project Space Open Public Hours

Tuesday-Friday, 12-5p

Saturday, 2-5p

un hilo a veces rio [a thread sometimes river] art exhibition
2025-11-11 12:00 - 2025-11-22 17:00
un hilo a veces rio

[a thread sometimes river]

Solo Exhibition by Vida Zamora

November 11 – 22, 2025

Reception: Friday, Nov 21st | 6-8p

More About un hilo a ceces río [a thread sometimes river]

un hilo a veces río [a thread sometimes river] is a collective, image based sculptural composition that weaves time, affect, and world-making. In its assembly of “images,” memory is not articulated through description nor representation, but as a felt and active force in all its porosity–extending itself behind, beyond and within singularity into the immanence of collectivity writ-large. The collaborators of this piece gathered, made, and worlded-with each other. In this act of sharing, the life that emanated from their time together has been carefully and intentionally assembled into a map that leads nowhere but to the act of remembering itself: a latent potentiality that refuses to be defined and that inaugurates affect in an outward (shared) and inward (opaque) motion. Vida co-orchestrates–with Petra, Patricia, Lucy, Martha, and with the assistance of Anna, Margaret, Meijuan, Sophie, and Jessica–an piece that does not want to materialize, but that finds a home in experience itself.

More About Vida Zamora

Vida Zamora [b.1998; Puebla] is a transdisciplinary artist in constant errancy. She graduated from MICA [MD] with a BFA, and was a UnionDocs [NY] Collaborative Studio Fellow. After graduating, she dealt with immigration and gender affirming care, yet recently gained access to a studio setting to continue her practice. Her work has been exhibited in programs at DIFFUSION [Canada], Millennium Film Workshop [NY], UnionDocs [NY], FISURA [Mexico], Badn?m [India], Cinema Parallels [Bosnia], and perfect lovers [NC] by curators such as the Re:assemblage collective, Adriana Trujillo, Michellè st. Michel, Dylan Angel and Victoria Bouloubasis.

To learn more visit vidazamora.art or follow them on Instagram: @vdzm__

Greensboro Project Space Open Public Hours

Tuesday-Friday, 12-5p

Saturday, 2-5p

A Foundations Yearbook, Art exhibition
2025-10-28 12:00 - 2025-11-01 17:00
Embody: A Foundations Yearbook

Featuring Self Portraits by over 100 First-Year School of Art Students

October 28 – November 1, 2025

Reception: Friday, October 31st | 5-7P

More About Embody: A Foundations Yearbook

Embody: A Foundations Yearbook is a self-portrait exhibition featuring new art majors in a new place through self-reflection and a show of community. Over 100 first-year, first semester students will be presented as part of the First-Year Foundations course led by Professor Christopher Thomas.

Greensboro Project Space Weekly Gallery Hours:

Tuesday – Friday, 12 -5 PM

Saturday, 2-5PM

The Den Community art Exhibition
2025-10-14 12:00 - 2025-10-25 17:00
[ ] @ GPS

The Den Community Exhibition

Curated by Jalani Maxwell, Dismantled Supply Co.

October 14 – 25, 2025

Reception: Friday, October 17th | 6-8P

Additional Events:

Loafs and Loafers by Kyle Scott, Oct 16th | 6-9PM

Syn[ ]cate Basement Show by Dom Savant, Oct 22nd | 6-9PM

[ ] Artist Forum, Oct 25th | 3-4:30PM

Featured Community Artists

Nailah BrewerLyric BrooksDarius CantyAminah CoppageJakai DickersonDawoud EvansMyles GravesKijani GrinageCain JohnsonTristen JonesMalcolm KingJalani MaxwellA’Daria MoffettRaynette NahDemarjae PowellKeir RichardIsaiah SoutherlandAmari Stimpson-Hatcher,Jordan X

More About [ ] @ GPS

Sick of fighting to be seen?

Maybe [ ] is the place for you.

Den, more commonly referred to as [ ] , is a grassroots organization founded in Greensboro, NC in 2024. Functioning to offer minority and youth artist with opportunities for professional artistic development, [ ] actively engages with a developing arts scene through a variety of interventions, workshops and activities. This exhibition serves as a culmination of our efforts thus far and a glimpse into the world [ ] is cultivating.

It is just as much our world, as it is yours; tell us what you see.

So, how about it [ ] ? You in?

Curatorial Statement

Stories untold often just need space to be heard, felt, seen and more importantly, experienced. Making space is taking space. “Third spaces” are the kind DSCo holds conversation in. These exist as syncretic hubs, embracing a variety of identities and fostering interest. Championing intersectionality, [ ] gives space to a community with a ring of its own.

Dismantled Supply Co. presents to you, [ ] .

Greensboro Project Space Weekly Gallery Hours:

Tuesday – Friday, 12 -5 PM

Saturday, 2-5PM

DRAwing Marathon Art Exhibition
2025-10-07 12:00 - 2025-10-11 17:00
Drawing Marathon

An MFA Student Exhibition

October 7 – 11, 2025

Reception: Thursday, Oct 9th | 6-8p

Featured Artists

Quan Apollo

Matt Fisher

Nhân Lương

Melanie Mcallister

Victoria Mercado-Lues

Naomi Michelle

Calvin Ulrich

Alana Wilson

More About Drawing Marathon Exhibition

Drawing Marathon is a foundational course in the MFA Studio Arts program at UNCG. Through a four-week intensive course that meets for 14+ hours every weekend, students work through preconceived notions about their own image-making and artistic practices, spending large blocks of time drawing in response to prompts or guidelines and then discussing the learning process with peers and this year’s Drawing Marathon instructor, Jennifer Meanley. This exhibition is the culmination of the work produced during these four weeks by the graduate students, including a range of drawings from quick experimentations to fully resolved drawings.

Greensboro Project Space Weekly Gallery Hours:

Tuesday – Friday, 12 -5 PM

Saturday, 2-5PM

Beautiful In My Eyes art exhibition
2025-09-30 12:00 - 2025-10-04 17:00
Beautiful In My Eyes

Solo Exhibition by Grace Thompson

September 30 – October 4, 2025

Reception: Friday, October 3rd | 6-8P

More About Beautiful in My Eyes

Beautiful in My Eyes features a group of observational oil paintings that focus on capturing lived moments in time. The work in this exhibit evokes memories of paused moments in daily life, crafting nostalgic feelings and thoughts. As life can be unpredictable, I seek stability by recording familiar spaces to appreciate the time spent in them and with the people I care about. This prompts me to accept spaces for what they offer rather than staging a scene. Often, I jump into painting without preparatory drawings because the subject changes as the environment moves through time. The paintings invite the audience to reflect on small things and moments that matter to them, whether that be observing how the sun comes through the window during midday or a napping family pet.

More About Grace

I am an observational oil painter interested in capturing fleeting moments in time. Many of my paintings render the progression of quotidian spaces across sessions, capturing movement of objects, people, and light. I explore the sense of nostalgia in mundane spaces through rigorous rhythmic applications of mark and color.

Follow Grace on Instagram @gracthomp

Greensboro Project Space Weekly Gallery Hours:

Tuesday – Friday, 12 -5 PM

Saturday, 2-5PM

that which remains art exhibition
2025-09-16 12:00 - 2025-09-27 17:00
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

walk zis way art installation
2025-09-09 12:00 - 2025-09-13 17:00
Walk zis Way

An installation and events by Laurent Estoppey

walking · listening · playing

September 9 – 13, 2025

Reception: Thursday, Sept 11th | 6:30-8:30P

More About Walk zis Way

About twice a month, I walk on the street for a couple hours, listen, improvise on the saxophone, in a dialog with the soundscape.

Part of a situation, I create a situation. People might hear me, or not. Notice me, or not. But if they do, does it turn them into an audience?

Meanwhile, I try to read the world, to tune into it.

Walk zis Way is an ongoing situation, to this day performed fifty times in twenty-four cities in seven countries.

It is the core of an artistic research, which will lead to a PhD thesis at SACRe (Paris, PSL Ecole Normale Supérieure) / ArtSearCH (Switzerland HES-SO)

This exhibition features films by Lee Walton, Vincent Capes and Cyril Caine, an installation and photographs by Laurent Estoppey.

Throughout the week, individual thirty minute walks are available on request with Laurent*

Events:

Tuesday September 9th, 7pm

Concert with David Menestres, double bass, Michael Thomas Jackson, clarinet, Dan Ruccia, viola and Laurent Estoppey, saxophone

Thursday September 11th, 6pm

Community walk followed by a discussion & Reception

Saturday September 13th, 3pm

Round table moderated by Dr. Corey Johnson

* For an individual walk, please go to the website www.laurentestoppey.com/GPS, pick a spot and write to estolaurent@gmail.com

Greensboro Project Space Weekly Hours:

Tuesday-Friday, 12-5p

Saturday, 2-5p

The last days of the news and record photo exhibition
2025-09-02 12:00 - 2025-09-06 17:00
Last Days of the News and Record

Photo Exhibition by Mercer Bufter

September 2 – 6, 2025

Reception: Friday, Sept 5th | 6-8P

More About Last Days of the News and Record

I didn’t think much about the News and Record building until they started knocking it down. Then I got kind of obsessed. I photographed the building and site routinely, mostly while I was doing other things. I used whatever camera and film I was carrying at the moment. In that way, my photos of the News and Record are both intentional and careless, considered and unplanned. All of the stories connected to that site are basically hidden from me. The photographs are simply visual explorations of what it’s like to wonder about a specific place many times over many months. In addition to the prints on the wall, there are two volumes of photos for passers-by to browse. The News and Record site is a small plot and an inherent part of this work is the repetition of views and details as they changed over the months. The interior photos, on the other hand, cannot be updated since the destruction of the building was final. Those images, and the hidden stories connected to them, receded farther and farther into the past as the site was cleared of machinery, cleared of rubble, and filled in with grasses and weeds. They continue to recede, I suppose, as the geese enjoy the new little pond they’ve gained since the demolition of the News and Record.

More About Mercer

Mercer Bufter is a poet and photographer in Greensboro, N.C. His photos of Beef Burger were exhibited in Greensboro Project Space’s 2024 Community Arts Show and his series on the destruction of Henry Louis Smith Homes on Florida Street was shown at Hemphill Branch Library and Vance Chavis Branch Library, both in 2024. He photographs people, places, and things wherever he goes.

To learn more follow Mercer on instagram @ mr._ez_pz

Greensboro Project Space Weekly Gallery Hours:

Tuesday – Friday, 12 -5 PM

Saturday, 2-5PM

Mind's eye art exhibition
2025-09-02 12:00 - 2025-09-06 17:00
Mind’s Eye

A journey from illness to healing: A neurodivergent perspective

Painting Exhibition by Anne R. Laperriere

September 2 – 6, 2025

*Reception: Friday, Sept 5th | 6-8P

**Artist Talk: Saturday, Sept 6th | 2:30-3:30P

*live music by Rene El Jaguar

**with Special guest Slam Poet Euridice L. White

More About Mind’s Eye

I had the courage to begin this series of autobiographical acrylic paintings in 2022. The series is made up of bold, figurative works whose characters, mostly self likenesses, show states of mental health and illness I’ve grown into, out of, and lived with during my lifetime. The viewer is taken into scenes expressing feelings and events such as depression, terror, mania, solitude, and thriving experienced during a lifetime of neurodivergent existence. “Mind’s Eye” speaks about mental illness, wellbeing, and the transformation and healing of the human mind and spirit.

Colors in the compositions are either confronting and contrasting, or subdued, foreboding and calm. The paint is layered, creating an obsessive history and rich hue. Animal beings and symbolic images appear intermingled with the figures. Paleolithic and Neolithic pattern and sculpture and hints of ancient mysticism also appear, plumbing the depths of the psyche and communicating in a primal language of emotion and notion. Brushstrokes are broad and emotive or tiny and repetitive. A carefully considered, bold composition of shapes and human/animal bodies is seen from afar, while tedious detail work is enjoyed up close.

More About Anne

Anne Laperriere is a multi-disciplinary artist who grew up in and around Detroit, Michigan. Here, she spent her childhood lost in art making, branching out to other activities such as dissecting deceased birds in the backyard, melting plastic animals in the microwave, and experimenting with her mother’s cosmetics.

Her lifelong obsession with art led her to earn a scholarship for study of sculpture at the Cleveland Institute of Art. She experienced working and interning in the field of museum taxidermy and exhibit creation at the Cleveland Museum of Natural History, and the Smithsonian’s exhibits department. When bouts with undiagnosed bipolar disorder became challenging, Anne relocated away from the harsh winters in Detroit and Cleveland to her current Winston Salem, North Carolina. Here she worked for fifteen years in an operating room, while creating a painting series of inspirations experienced on the job.

In the present, Anne is employed as a faux-finisher, and in her basement studio builds a series of paintings about her experiences through mental illness and wellbeing. She has turned to art making as a therapy, an expression, and a means of communication about her journey as a human being through existence.

Learn more about Anne by visiting her website here and following her in IG: @anne_ruth_laperriere

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
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
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

Cloudy Art Exhibition
2025-05-27 12:00 - 2025-05-31 17:00
Cloudy

drawing and painting installation

by Les III

May 27 – 31, 2025

Reception: Friday, May 30th | 6-8PM

More About Cloudy

I go for regular bicycle rides scanning the horizon and the road before me. The ever-present sky always has something to show me — as does the roadway. For over a year I have focused on daily sketch studies of clouds, a practice of the fundamentals of artmaking as a way of welcoming a renewed concept of flow. I meditate on how to represent the clouds with making marks on collected bits of paper. The challenge is to use what is before me — foreign & familiar, in a way new & known to share a way of upliftingly seeing through challenges inside and outside. It is a Cloudy departure from my normal way of practice, yet informs everything I do.

This project is funded in part by the 2025 Forsyth County Regional Artist Support Grant and the North Carolina Arts Council.

More about Les III

Les Caison III is an award-winning NC homegrown visual artist. He prefers mixed media layers of expressive realism, often utilizing an illustrative, narrative approach — fashioning quirky, heartfelt tales among images of people, places, and things just waiting to connect with you time and again. His creative can-do is often seen as drawings on found paper and paintings on panel. They find their way into storied solo & group shows all over the southeastern U.S.. Peppered among his prolific 25+ year career are numerous curatorial stints, art project manager posts, residencies, commissions, and adventures too thick to mention. Les is more. His work has been exhibited in regional galleries including Asheville, Greensboro, and Raleigh; museums including the Black Mountain College Museum + Arts Center, Turchin Center for Visual Arts in Boone, and The Hickory Museum of Art; and is included in numerous private collections. Les recently completed an impressive 11 quick study portrait project during his two-week Artist-In-Residency at GreenHill’s ArtQuest. He currently represented by Winston-Salem’s Visual Index Gallery and can be found pedaling about on his bicycle under the clouds.

To learn more, visit: www.LesIII.com or follow Les on Instagram @LesThreee #LesIII

Greensboro Project Space Open Hours:

Tuesday – Friday, 12-5p

Saturday, 2-5p

Summer Studios: Arts on Site! The GPS Student Artist Residency Program
2025-05-12 12:00 - 2025-05-24 17:00
Summer Studios: Arts on Site!

The GPS Student Residency Program

May Artists-in-Residence: Linda Boike, Morgan Hesse, Melanie McAllister, Jalen Williams

May Cohort | May 12 – 24, 2025

Public Open Studio Hours:

May 19th | 12-3p

May 21st | 2-5p

May 23rd | 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.

May Cohort

Linda Boike (BA Printmaking and Drawing) intends to investigate her repeatable processes by setting up stations for herself that will serve to keep her busy. She wants to reap and sow. She has more recently been marrying her artistic process with her writing process, which she would like to incorporate into the residency with hopes of involving other participating artists in doing pass around poems for basic idea generation. She also has a desire to expand on previous work themes and make more worms, creatures, and color/darkness poems. Spending time in one place will always cause accumulation.

Melanie McAllister’s (BFA Painting) artistic practice is rooted in the sensual and tactile nature of oil painting, which she uses as a means of catharsis and personal reflection. Primarily focused on figurative oil paintings, she explores themes of vulnerability, spirituality, and the formative experiences that have shaped her identity. She aims to create a visual language that reaches beyond her individual experience and resonates with those who view it. She intends to experiment with different paint application methods and processes to help push her approach to these thematic elements and push her work to larger scales.

Jalen Williams (BFA Printmaking and Drawing) plans to explore alternative forms of printmaking and drawing practices. This includes methods such as monoprinting, gelli plate printing, and kitchen lithography. He wants to investigate what are the most portable and easily accessible ways of doing printmaking practices on the go. When viewing most printmaking techniques, most require a sum of items and accessible studio space, such as press machines, various chemicals, and tools. With the residency, he will propose ways both himself and others can explore the world of printmaking on a smaller scale with more accessibility.

Morgan Hesse (BFA Photography) plans to deepen her exploration into experimental alternative photographic processes, building upon previous work with cyanotypes. Her goal is to venture into new territories by experimenting with lumens, anthotypes, and other unconventional techniques. The intended project will culminate in a series of unique images, each capturing the dynamic interplay between light, chemicals, and natural materials. A central component of her plan involves constructing a custom UV light box. This tool will allow her to control exposure precisely while experimenting with various materials such as water, dirt, salt, and other substances directly on the surfaces.

Third Annual BA ART Exhibition
2025-05-06 12:00 - 2025-05-10 20:00
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

A UNCG Student Cupola Team ARt Exhibition
2025-05-06 12:00 - 2025-05-10 20:00
The UNCG Student Cupola Team Exhibition

May 6 – 10, 2025

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

Come see works made by UNCG’s Student Cupola Team! Work inspired by time spent in the Foundry internship, including pieces casted from the furnace students built named “Clank the Skank.”

Featuring UNCG Student Artists & Alumni:

Nailah Brewer

Sammi Eady

Sara Griffin

“AJ” Alexis Guieb-Alimbuyuguen

Ashley Halpren

Joseph Hodge

El King

Claire Lewis

Aryana Norris (alumna)

Jonathan Reed

Constantine Sotos Schuster

Myles Wilder

Greensboro Project Space Open Hours:

Tuesday – Friday, 12-5p

Saturday, 2-5p

Under Pressure Art exhibition
2025-04-29 12:00 - 2025-05-03 17:00
Under Pressure

An Exhibition That Explores How Pressure Shapes, Challenges, and Inspires

Featuring Local, Undergraduate Artists from UNCG, Guilford College, and A&T University

Curated by GPS Interns: Lucy Terry, Elissa Ukhueligbe, and Rachel Witzel

Exhibition: April 29 – May 2, 2025

Reception: Friday, May 2nd, 6-8p

More About Under Pressure

How does pressure shape, challenge, or inspire you? From personal struggles to societal pressures, we seek art that explores the transformative power of adversity. How adversity—whether physical, emotional, or external—can lead to growth, innovation, and change. Under Pressure is an opportunity to reflect on the pressure points that define our lives: moments that push us beyond limits, that break us open or forge us anew.

More About The GPS Student Intern Curators

Lucy Terry

My goal as an artist is to create an escape, not just for the viewer, but for myself. The constant pressure that is on student artists makes it near impossible to relax into the escapism that art can provide. Through this exhibition, I hope that all of my Greensboro student peers can allow themselves to move freely through their own artistic expression, without the threat of a grade or evaluation looming over them. My hope is that this exhibition creates a safe space for free expression while also celebrating the unique, fresh, and unfiltered style of student artists.

Elissa Ukhueligbe

I believe people can connect to each other through a shared struggle. There are common adversities for all people, no matter their background. Art can be a way to critique systems that harm people. In addition, it can inspire empathy, action, and compassion. I hope this exhibition can allow people to feel seen through artwork. We included artists in multiple Greensboro schools; hopefully cultivating a sense of community through shared emotions.

Rachel Witzel

What I hoped to cultivate with the show Under Pressure was a body of work that reflected the universal weight we carry as students and artists. While everyone, artist or not, experiences their own unique stresses and pressures throughout their lives, it’s as artists and creatives that we are able to communicate how they affect us. For me, art is its own form of communication. What began as symbolic paintings on cave walls has now become a tool for us to open channels of connection with others who might share in our experiences– or discover something new about themselves through the art we share.

Greensboro Project Space Open Hours:

Tuesday – Friday, 12-5p

Saturday, 2-5p

Efflorescence Photography Capstone exhibition
2025-04-29 12:00 - 2025-05-03 17:00
Efflorescence

Photography Capstone Exhibition

April 29 – May 3, 2025

Reception: Friday, May 2nd | 6-8PM

Leah Sobsey’s Capstone Photography Class exhibition, Efflorescence, features works from the following participating students: Zainab Adamou-Mohamed, Christopher W. Drew, Dulce Gonzalez, Morgan Hesse, Amari Melton, and Khaylah Newell. The definition of Efflorescence is the action or process of developing and unfolding as if coming into flower. As photographers in their senior year and on the cusp of a new chapter, they found the metaphor of flowering to best reflect how they are feeling. This process of blooming resonates with them as they continue to evolve, each seeing the world through their own lens.

Featuring UNCG Student Artists:

Zainab Adamou-MohamedChristopher W. DrewDulce Ivet GonzalezMorgan HesseAmari MeltonKhaylah Newell

Greensboro Project Space Open Hours:

Tuesday – Friday, 12-5p

Saturday, 2-5p

NYANSAPO: Mfa Art Thesis exhibition
2025-04-15 12:00 - 2025-04-19 17:00
NYANSAPO (Wisdom Knot)

MFA Thesis Exhibition

by Paul Stanley Mensah

Exhibition: April 15 – 19, 2025

Reception: Saturday, April 19th, 6-8p

In this evocative collection, Ghanaian artist Paul Stanley Mensah bridges the past and present through a dynamic interplay of metal, wood, leather, and fabric. Rooted in the rich traditions of Ghanaian heritage, his work delves into the enduring impact of slavery, the power of unity, and the wisdom embedded in Akan proverbs and Adinkra symbolism.

Through sculptural forms and textile compositions, Paul Stanley Mensah transforms historical narratives into tangible expressions, using weathered metal to echo resilience, embossed leather to preserve ancestral voices, and fabric to weave together stories of cultural identity. The Adinkra symbols, imbued with philosophical depth, serve as a visual lexicon, reminding us of the strength in unity and the lessons history offers.

This exhibition is a dialogue between past and future, a call to reflection, and a celebration of heritage. It invites viewers to engage with the complexities of history while embracing the enduring spirit of community and wisdom that defines Ghanaian culture.

More About Paul Stanley Mensah

My art practice contextualizes Ghanaian proverbs, Adinkra symbols, and childhood stories, using metal, wood and other indigenous materials like leather and fiber to create abstract and metaphoric human size/ large size sculpture. These proverbs were passed down to me by my late mother. With large scale installations, I seek to pass down these proverbs and symbols to my daughter and the new generation to preserve and promote Ghanaian culture and heritage. These Proverbs, Adinkra symbols and stories convey messages of kindness, faithfulness, perseverance, integrity, love, and courage.

Greensboro Project Space Open Public Hours

Tuesday-Friday, 12-5p

Saturday, 2-5p

brilliant darkness: MFA art thesis exhibition
2025-04-01 12:00 - 2025-04-05 17:00
BRILLIANT DARKNESS

MFA Thesis Exhibition

by Nill Smith

Exhibition: April 1 – 5, 2025

Reception: Friday, April 4th, 6-8p

I connect with water as a divine being. Vast bodies of water evoke a sublime experience akin to a connection to a god or goddess. Using this as a catalyst, I engage in different mediums to speak to different narratives around water. I construct work based on ideas of healing through purification. I take ‘snap shots’ of water through the use of cyanotypes and in turn, honor these moments as sacred objects. I paint with a vibrant, jewel toned, saturated palette that still holds restraint. I think about the gesture of the body as an act of storytelling. Through poses, I create narratives that dive into moments of suffering. These figures, hunched over in sorrow and grief, are in a state of limbo. They cover their faces in shame. Their eyes never meet your gaze. Intimate moments are put on display for the consumption of the viewer. I engage in mythologies both crafted and historically grounded. Histories such as the Middle Passage, the ‘Black Atlantic’, and The Door of No Return, amongst others, are interlaced into this series of work in addition to personal ambiguous narratives. Through these mythologies and histories, I search for healing, reinvention, and liberation.

More About Nill

Nill is an interdisciplinary artist, predominantly working in painting, ceramics, and printmaking, currently working out of North Carolina. Her work centers water as a conduit for purification and reinvention, while holding histories of violence. Nill’s work has been shown at The North Carolina Museum of Art, Weatherspoon Art Museum, The McColl Center, Prizm Art Fair, Main Street Arts, Shain Gallery, and VAE Raleigh, amongst others. She was the recipient of an Arts and Science Council grant, and judge for the National Scholastics Competition.

Learn more: @theartistnill | Website: Theartistnill.com

Greensboro Project Space Weekly Hours

Tuesday-Friday, 12-5p

Saturday, 2-5p

T.A.G...You're It! Art Exhibition
2025-03-25 12:00 - 2025-03-29 17:00
T.A.G…You’re It!

A UNCG Student Club Exhibition

by The Artists’ Guild

Curated by Melissa Ferguson

March 25 – 29, 2025

Reception: Friday, March 28th | 6-8P

More About … You’re It!

You’re It!  celebrates the diverse talents of The Artist’s Guild members, providing a platform for UNCG students to showcase their work in a gallery setting. With no singular theme, this event invites a rich tapestry of artistic expressions, reflecting the varied concentrations and mediums embraced by our student artists.

Our aim is to demystify the gallery experience and make it more accessible to all members of our community. We believe that art thrives in environments where creativity is encouraged and shared. By opening our space to a wide range of artistic endeavors, we hope to foster connection, inspire collaboration, and highlight the unique voices within The Artist’s Guild.

Join us as we celebrate the vibrant spectrum of student artistry and create a welcoming environment where everyone can engage with and appreciate the creativity that surrounds us.

More About The Artists’ Guild (TAG)

The Artist’s Guild is a community of student artists at UNCG, dedicated to fostering creativity, collaboration, and connection. Our mission is to provide a supportive space where artists of all backgrounds and disciplines can explore their creativity, share their work, and engage with one another.

As a student voice, we advocate for increased funding, special events, and partnerships with local organizations to strengthen the relationship between UNCG students and the artistic Greensboro community. We believe in empowering our members by providing opportunities to showcase, sell, and develop their work through exhibitions, workshops, and collaborative projects.

In addition to our artistic endeavors, we organize fun events that help student artists engage with the broader community of creators around them. By cultivating an inclusive environment that encourages artistic growth and innovation, we aim to celebrate the diverse talents of our members and enrich the cultural landscape of our university and beyond.

Follow us on Instagram at @uncgartistsguild to see how we elevate student voices in the arts and create meaningful connections within our community!

Featuring Artwork by

Javier AcostaGrayson AskewBjorn BatesNailah BrewerEmma ChurchAva CobbMelissa FergusonGillian FosterAshley JonesRay KirkmanClaire LewisEm MingolelliSophie MooreStephanie OkotieEllison RauchKaelyn WhitenerJalen Williams

Greensboro Project Space Weekly Public Hours

Tuesday – Friday, 12-5p

Saturday, 2-5p
