It’s difficult to write about this exhibition, Under a Sherbert Sky, without acknowledging the crisis facing America and beyond. Only a few months into 2026 and we’ve seen the murder of American citizens by federal agents, large-scale protests (here and abroad), and the eruption of a war in the Middle East. There’s a hovering air of uncertainty; and it’s hard to focus when each day brings more bewilderment and suffering.
While I could only pick a limited amount of work from a very large pool of submissions, I want to acknowledge all the artists continuing to work while the world feels so precarious. Artists have always endured, especially when circumstances are ominous and heartbreaking. One could argue that art continually served as a bellwether during times of cultural and political unrest; and that remains today.
Under a Sherbert Sky contains a multitude of experiences, and the objects presented range from brash and colorful to modest and subdued. However, all the work hovers in a zone that falls somewhere between representation and abstraction. This notion of being ‘between something’ feels appropriate given the current moment. Perhaps it’s because when times seem the bleakest, we look for ways to acknowledge what it means to be sentient.
The work in this exhibition carries a sense of hope as well as the heartbreak of reality. Regardless of the artist, themes of language, portraiture, and landscape present throughout the show. Flowers and nature become symbols for mourning and solitude, yet also for growth and celebration. Patterns and architecture are used as an apparatus for memorializing people and places; and language is embedded within all the work, whether legible or covert.
It is always an honor to be asked to select work for an exhibition, yet it’s also one of the most difficult tasks to undertake. I’m grateful to all the artists who submitted for the call and thank you for the opportunity to experience your work.