2026 exhibitions
Finney & Davis · May 13 – June 6
Smith & Knight · June 10 – July 4
Oversmith & Stinson · July 8 – August 1
Swain, DiBenedetto & Jaskevich · August 5 – August 29
May 13 — June 6
Opening Reception: Saturday, May 16, 4 — 6pm
Two painters. Two very different roads into the Southern landscape. Finney is a working impressionist who spent fifteen years drawing for Disney before turning to oil full-time; Davis is an English-born painter and novelist who crossed an ocean for a single book about Alabama and never really left. Hung together, they ask the same question from two directions : what do you actually owe a landscape when you decide to paint it?
The strongest contrast pairing of the season. Smith paints the slow disappearance of High Country barns and homesteads in a moody, restrained palette — the architecture of a place quietly leaving. Knight, who studied under Larry Poons at the Art Students League and runs Chef & the Farmer with Vivian Howard, builds gestural abstracts that come off the canvas with extreme texture and color. One looks back, quiet. The other moves forward, loud.
June 10 — July 4
Opening Reception: Saturday, June 13, 4 — 6pm
July 8 — August 1
Opening Reception: Saturday, July 18, 4 — 6pm
Both artists work for the land, in different mediums. Oversmith is a plein air impressionist who paints on location — the High Country mostly, with long stretches in France and Italy — chasing light off a waterfall or a sunlit field. Stinson is a ceramicist; her vessels and wall platters carry layered glaze, multiple firings, and what she calls "evidence of time." The painter chases the moment. The potter holds the cycle.
August 5 — August 29
Opening: Saturday, August 8, 4 — 6pm
The season closes on three artists who all work from the natural world, and none of whom leave it as they found it. Swain sets a precisely rendered magnolia or insect loose on a ground of pure invention — what he calls "a balance between chaos and control." DiBenedetto gathers lemons, cherries, a bird's nest, a petal mid-fold, and holds them still long enough to turn strange. Jaskevich carves without a plan, letting the stone decide the face. Nature hands each of them a beginning and then stops.
please view our past season’s exhibitions here