Hanging on a white wall, wide, decisive, and airy brushstrokes remember a huddle of trees beyond a dirt road and beneath a misty, yawning sky.

Stephen Hayes – Re:place

The sheer beauty of the imagery is immediately seductive while the title Re:place invites further contemplation on broader themes of renewal, reckoning or reconsiderations of our place within these bucolic settings.

Multi-colored hexagons are scattered across a white background, tethered together with thin wire, a magenta stripped blob invading the center, like a hot air balloon grazing past clouds.

Print Wall: Jacob Hashimoto

Jacob Hashimoto’s art practice bridges sculpture, painting, and installation through entrancing and complex installations that shift perceptions of light, space, and motion.

In a flurry of motion and surrealist animation, this painting captures multiple dizzying happenings at once—potatoes tumbling out of a cardboard box, pink-colored wine spilling out of a broken bottle, a snake wrapping itself around a tree branch, a pitchfork impaling a cake, a wig, a shoe, balloons, so on.

Ryan Pierce: Awake Under Vines

Pierce continues to illuminate relationships between the human and natural world through dynamic dreamlike imagery infused with moral complexity and wonderment. 

Overlayed floral shapes, colored using rich, earthly reds, browns, yellows, and pinks, blurring the line between two- and three-dimensional.

Charlene Liu: Lattice

The exhibition reveals the artist’s complementary approaches between the mindful deliberations of printmaking techniques and the observational immediacy of line seen in her plein air style paintings. 

Wall of eight linocuts of figures, each performing different tasks, i.e. playing the saxophone, the drums, leaning on a trumpet, dancing with a partner, lighting a cigarette, etc. Warm yellows and blues, splashes of white and red, and strategic shadows create a nostalgic, noir feel.

Alison Saar: Copacetic

Saar pays tribute to the African American artists of the Harlem Renaissance through panoramic scenes of imagined dancers, singers, musicians and patrons enjoying Harlem’s heyday of the 1930-40s.

A diptych of rectangular, portrait orientation paintings. Each painting is a features a loose grid, with some of the grid's cells either cut out of the canvas leaving a void or layered over other cells. The individual cells are painted with a combination of gestural, grasslike lines, grids and checkerboards in various colors, and photographs collaged on a black paint background.

Modou Dieng: A Postcolonial Landscape

Elizabeth Leach Gallery is pleased to present A Postcolonial Landscape by Modou Dieng, featuring paintings that explore themes of Black representation and erasure in a globalized society. Dieng reimagines his own experience through dazzling, idiosyncratic mixed media artworks that engage in dialogue with personal narratives and Eurocentric art history.