Index
Exhibitions
Info
Subscribe here for more information on future releases and exhibitions
Color Interaction VI, 2026
Color Interaction VI, Magenta, 2026
Color Interaction VI, Cyan, 2026
Color Interaction VI, Yellow, 2026
manipulated paper, glass beads, nylon
27 x 36 inches
“Color Interaction VI” is the latest iteration in an ongoing investigation of how color responds when it is asked to occupy three dimensional space.
Each work is printed with a cyan, magenta, or yellow gradient. Rather than mixing to produce a stable hue, the inks remain transparent. As they overlap with the colored paper stock beneath, they generate the illusion of additional colors and values that are not materially present. What appears to be a new color is an optical event, produced through accumulation and perception.
The works are pleated and trimmed to create a directional shift in color. This subtle movement is interrupted with each pleat, punctuating an otherwise continuous gradient into distinct color swatches.
Anchored by a glass bead, each fold becomes structural as well as optical. The surface alternates between peaks and valleys, absorbing and reflecting light. In these moments, each pleat functions as small lightwell, where color compresses and briefly destabilizes.
Color Interaction VI” continues to explore color as an evolving phenomenon rather than a static material, asking how color changes when it is given depth.
Color Interaction VI, Magenta, 2026
Color Interaction VI, Cyan, 2026
Color Interaction VI, Yellow, 2026
manipulated paper, glass beads, nylon
27 x 36 inches
“Color Interaction VI” is the latest iteration in an ongoing investigation of how color responds when it is asked to occupy three dimensional space.
Each work is printed with a cyan, magenta, or yellow gradient. Rather than mixing to produce a stable hue, the inks remain transparent. As they overlap with the colored paper stock beneath, they generate the illusion of additional colors and values that are not materially present. What appears to be a new color is an optical event, produced through accumulation and perception.
The works are pleated and trimmed to create a directional shift in color. This subtle movement is interrupted with each pleat, punctuating an otherwise continuous gradient into distinct color swatches.
Anchored by a glass bead, each fold becomes structural as well as optical. The surface alternates between peaks and valleys, absorbing and reflecting light. In these moments, each pleat functions as small lightwell, where color compresses and briefly destabilizes.
Color Interaction VI” continues to explore color as an evolving phenomenon rather than a static material, asking how color changes when it is given depth.
Color Interaction VI at RAM Gallery
Opening Reception
Thursday, 5 MAR, 6-8 PM
manipulated paper, glass beads, nylon
9 x 12 inches
This series is structured through a fixed set of material variables involving paper, printed color, and beadwork. Each work shares the same dimensions and construction, with the paper folded into a three-dimensional pleated form.
Color Interaction VI uses twelve paper stocks selected from GF Smith’s Colorplan collection. Each sheet is printed with one of three gradients (cyan, magenta, or yellow) and then embellished with one of twelve different colors of Japanese glass seed beads. Through these controlled variations, the works examine how color transforms depending on surface and ligh
Opening Reception
Thursday, 5 MAR, 6-8 PM
manipulated paper, glass beads, nylon
9 x 12 inches
This series is structured through a fixed set of material variables involving paper, printed color, and beadwork. Each work shares the same dimensions and construction, with the paper folded into a three-dimensional pleated form.
Color Interaction VI uses twelve paper stocks selected from GF Smith’s Colorplan collection. Each sheet is printed with one of three gradients (cyan, magenta, or yellow) and then embellished with one of twelve different colors of Japanese glass seed beads. Through these controlled variations, the works examine how color transforms depending on surface and ligh
CMY(K), 2024
woven paper, glass beads, nylon
CMY(K) explores the collaboration between machine precision and handmade construction. Each work begins with GF Smith Colorplan paper digitally printed with a transparent gradient of cyan, magenta, or yellow, the three primary colors of subtractive process printing. The paper is then cut into strips and reassembled through a plain weave, allowing printed color and paper color to intersect across a shifting grid.
The series relies on pure process color as a controlled variable. New colors emerge through overlap and optical mixing, placing the final image partly in the eye of the viewer. Inspired by the perceptual strategies of 1960s Op Art, the works change with distance and angle. Areas that initially appear stable dissolve into layered fields of color and movement.
Japanese glass seed beads are embroidered through the paper to secure the woven structure. Their color shifts in relation to the surrounding field, complicating the distinction between material color, printed color, and perceived color. The open square formed by the embroidery functions as a viewfinder, revealing the original woven surface beneath.
Through digital printing and techniques in textile fabrication / ornament, CMY(K) brings traditional hand processes into conversation with digital tools. The works invite sustained looking, revealing color as unstable and relative.
Exhibited at the 2024 Atlanta Art Fair for SCAD Art Sales.
woven paper, glass beads, nylon
CMY(K) explores the collaboration between machine precision and handmade construction. Each work begins with GF Smith Colorplan paper digitally printed with a transparent gradient of cyan, magenta, or yellow, the three primary colors of subtractive process printing. The paper is then cut into strips and reassembled through a plain weave, allowing printed color and paper color to intersect across a shifting grid.
The series relies on pure process color as a controlled variable. New colors emerge through overlap and optical mixing, placing the final image partly in the eye of the viewer. Inspired by the perceptual strategies of 1960s Op Art, the works change with distance and angle. Areas that initially appear stable dissolve into layered fields of color and movement.
Japanese glass seed beads are embroidered through the paper to secure the woven structure. Their color shifts in relation to the surrounding field, complicating the distinction between material color, printed color, and perceived color. The open square formed by the embroidery functions as a viewfinder, revealing the original woven surface beneath.
Through digital printing and techniques in textile fabrication / ornament, CMY(K) brings traditional hand processes into conversation with digital tools. The works invite sustained looking, revealing color as unstable and relative.
Exhibited at the 2024 Atlanta Art Fair for SCAD Art Sales.
DE NOVO at Spalding Nix Fine Art
Opening Reception
Friday, 22 MAR, 6-8 PM
Saturday, 23 MAR 12-4 PM
Browse and purchase works from the exhibition HERE.
The Color Interaction IV series challenges our ability to focus and perceive a single color independently. These paintings represent my fourth iteration of works inspired by Josef Albers’ exercises studying the interaction of color and Anni Albers’ textiles. The works mimic their combined attention to integrated craft, design, and art in both theory and application.
The mixed-media paintings are more closely related to printmaking than painting in their systematic approach to independent layers of color application. To depict multiple color relationships at the same time, each painted, airbrushed, or embroidered layer creates new shapes and proportions within the composition. As these shapes overlap with one another the interactions become increasingly complex. Each painting utilizes the same composition in different color palettes to better study their similarities and differences. The multiplicity and slight variations imparted by my hand imitate my printmaking practice.
The first layers are defined by fifteen concentric watercolor washes that increase in value and saturation. The softened corners and translucent edges appear out of focus in contrast with the hard edge of the next layer, a vertical accent airbrushed in concentrated watercolor. The final layer is a network of 7,650 glass beads, designed to create an illusion of simulated transparency, similar to the translucency experienced in a loosely woven textile. In combination, each layer challenges our eye’s ability to specify any one color relationship or identity when so many variables are changing simultaneously.
https://spaldingnixfineart.com/show/spalding-nix-fine-art-de-novo
Opening Reception
Friday, 22 MAR, 6-8 PM
Saturday, 23 MAR 12-4 PM
Browse and purchase works from the exhibition HERE.
The Color Interaction IV series challenges our ability to focus and perceive a single color independently. These paintings represent my fourth iteration of works inspired by Josef Albers’ exercises studying the interaction of color and Anni Albers’ textiles. The works mimic their combined attention to integrated craft, design, and art in both theory and application.
The mixed-media paintings are more closely related to printmaking than painting in their systematic approach to independent layers of color application. To depict multiple color relationships at the same time, each painted, airbrushed, or embroidered layer creates new shapes and proportions within the composition. As these shapes overlap with one another the interactions become increasingly complex. Each painting utilizes the same composition in different color palettes to better study their similarities and differences. The multiplicity and slight variations imparted by my hand imitate my printmaking practice.
The first layers are defined by fifteen concentric watercolor washes that increase in value and saturation. The softened corners and translucent edges appear out of focus in contrast with the hard edge of the next layer, a vertical accent airbrushed in concentrated watercolor. The final layer is a network of 7,650 glass beads, designed to create an illusion of simulated transparency, similar to the translucency experienced in a loosely woven textile. In combination, each layer challenges our eye’s ability to specify any one color relationship or identity when so many variables are changing simultaneously.
https://spaldingnixfineart.com/show/spalding-nix-fine-art-de-novo
PROOF
McEachern Art Center
Opening Reception, August 4, 7 PM
PROOF is an archive documenting Gretchen Wagner’s ongoing research, process, and exploration of color as both form and content.
The monoprints in the show address the contemporary commercialization of color and craft synthesized through printmaking and embroidery. Each varied edition is designed to manipulate the material attributes of color and demonstrate the limitations in understanding color identity. These experiments are calculated to adjust hue, saturation, and value within the confines of a specific form that evolves throughout the exhibition.
Motivated by her fascination with the inability to fully comprehend color, she utilizes the language of color to bridge theory and application; art and design; hand and machine. In attempting to study absolute color, Wagner observes the historical and contemporary distinctions of reproducible, immediate, mass-produced, situational, and paradoxical color.
https://www.macmacon.com/
McEachern Art Center
Opening Reception, August 4, 7 PM
PROOF is an archive documenting Gretchen Wagner’s ongoing research, process, and exploration of color as both form and content.
The monoprints in the show address the contemporary commercialization of color and craft synthesized through printmaking and embroidery. Each varied edition is designed to manipulate the material attributes of color and demonstrate the limitations in understanding color identity. These experiments are calculated to adjust hue, saturation, and value within the confines of a specific form that evolves throughout the exhibition.
Motivated by her fascination with the inability to fully comprehend color, she utilizes the language of color to bridge theory and application; art and design; hand and machine. In attempting to study absolute color, Wagner observes the historical and contemporary distinctions of reproducible, immediate, mass-produced, situational, and paradoxical color.
https://www.macmacon.com/
