Instagram Story Save

The sweet resinous smell of lumber was the perfume of my childhood.

Fences, decks, rooms, homes…My parents were always engaged in some building project or another.

But it was never just the end state they were after. No, what they were chasing was that sense of suspension between minds-eye vision and final realization.

There’s no English word that captures the depth of that feeling. But you’ll feel it in response to this and other Alex Hutton paintings now on view at Main Projects.

DM me to learn more.

Pictured
Billet, 2025, 26 x 37 in, oil on linen

About the Artist
Alex Hutton is a Brooklyn-based painter whose work centers on structures
built for movement but held in suspension. Drawing from systems of engineering
and leisure - rollercoasters, frameworks, and architectural supports - his paintings
depict forms that are complete yet uninhabited, caught in a moment before
activation. What emerges is not the structure itself, but the anticipation it generates.

Gallery: @main_projects_
Artist: @alex_ross_hutton

The sweet resinous smell of lumber was the perfume of my childhood.

Fences, decks, rooms, homes…My parents were always engaged in some building project or another.

But it was never just the end state they were after. No, what they were chasing was that sense of suspension between minds-eye vision and final realization.

There’s no English word that captures the depth of that feeling. But you’ll feel it in response to this and other Alex Hutton paintings now on view at Main Projects.

DM me to learn more.

Pictured
Billet, 2025, 26 x 37 in, oil on linen

About the Artist
Alex Hutton is a Brooklyn-based painter whose work centers on structures
built for movement but held in suspension. Drawing from systems of engineering
and leisure - rollercoasters, frameworks, and architectural supports - his paintings
depict forms that are complete yet uninhabited, caught in a moment before
activation. What emerges is not the structure itself, but the anticipation it generates.

Gallery: @main_projects_
Artist: @alex_ross_hutton

The sweet resinous smell of lumber was the perfume of my childhood.

Fences, decks, rooms, homes…My parents were always engaged in some building project or another.

But it was never just the end state they were after. No, what they were chasing was that sense of suspension between minds-eye vision and final realization.

There’s no English word that captures the depth of that feeling. But you’ll feel it in response to this and other Alex Hutton paintings now on view at Main Projects.

DM me to learn more.

Pictured
Billet, 2025, 26 x 37 in, oil on linen

About the Artist
Alex Hutton is a Brooklyn-based painter whose work centers on structures
built for movement but held in suspension. Drawing from systems of engineering
and leisure - rollercoasters, frameworks, and architectural supports - his paintings
depict forms that are complete yet uninhabited, caught in a moment before
activation. What emerges is not the structure itself, but the anticipation it generates.

Gallery: @main_projects_
Artist: @alex_ross_hutton

Devin Cecil-Wishing
𝘓𝘰𝘰𝘬 𝘴𝘰𝘯, 𝘐 𝘩𝘢𝘷𝘦 𝘭𝘰𝘯𝘨 𝘬𝘯𝘰𝘸𝘯 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘣𝘪𝘨 𝘧𝘪𝘴𝘩 𝘦𝘢𝘵 𝘵𝘩𝘦 𝘴𝘮𝘢𝘭𝘭..., 2026
Oil on linen
29 x 42 in

Drawing from Pieter Bruegel the Elder’s engraving of the same proverb, Devin Cecil-Wishing stages a scene of consumption suspended somewhere between allegory and still life. A large fish lies split open across the composition, its body releasing the smaller fish it has devoured. The image folds predator and prey into a single unstable form, transforming a familiar proverb into something grotesque, cyclical, and strangely tender.

Painted entirely from observation and imagination, the work reflects Cecil-Wishing’s sustained engagement with the material and psychological language of Dutch and Flemish painting traditions. Flesh, scale, and translucency are rendered with near-clinical attention, yet the painting resists resolution as narrative. Instead, hierarchy, appetite, and violence remain embedded within the structure of the image itself.

On view in 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘞𝘪𝘵𝘩 𝘎𝘰𝘭𝘥 through May 28 at Main Projects.

@devin_cecil_wishing

Devin Cecil-Wishing
𝘓𝘰𝘰𝘬 𝘴𝘰𝘯, 𝘐 𝘩𝘢𝘷𝘦 𝘭𝘰𝘯𝘨 𝘬𝘯𝘰𝘸𝘯 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘣𝘪𝘨 𝘧𝘪𝘴𝘩 𝘦𝘢𝘵 𝘵𝘩𝘦 𝘴𝘮𝘢𝘭𝘭..., 2026
Oil on linen
29 x 42 in

Drawing from Pieter Bruegel the Elder’s engraving of the same proverb, Devin Cecil-Wishing stages a scene of consumption suspended somewhere between allegory and still life. A large fish lies split open across the composition, its body releasing the smaller fish it has devoured. The image folds predator and prey into a single unstable form, transforming a familiar proverb into something grotesque, cyclical, and strangely tender.

Painted entirely from observation and imagination, the work reflects Cecil-Wishing’s sustained engagement with the material and psychological language of Dutch and Flemish painting traditions. Flesh, scale, and translucency are rendered with near-clinical attention, yet the painting resists resolution as narrative. Instead, hierarchy, appetite, and violence remain embedded within the structure of the image itself.

On view in 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘞𝘪𝘵𝘩 𝘎𝘰𝘭𝘥 through May 28 at Main Projects.

@devin_cecil_wishing

Alex Hutton’s paintings often begin with structures that feel familiar - rollercoasters, scafolding, unfinished architecture - but the longer you look, the less fixed they become.

In 𝘊𝘶𝘴𝘱, the coaster seems to emerge and dissolve at the same time. The image hovers between clarity and fragmentation, held together through quick shifts of color, pressure, and gesture. What first reads as a coherent structure slowly gives way to something more unstable and psychological.

There’s a strange tension in the work between thrill and disorientation, nostalgia and unease, as though the painting is capturing the sensation of anticipation itself.

Alex Hutton
𝘊𝘶𝘴𝘱, 2025
Oil on linen
34 x 40 in (86.4 x 101.6 cm)

Currently on view in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Leigh Suggs at Main Projects.

@alex_ross_hutton

Alex Hutton’s paintings often begin with structures that feel familiar - rollercoasters, scafolding, unfinished architecture - but the longer you look, the less fixed they become.

In 𝘊𝘶𝘴𝘱, the coaster seems to emerge and dissolve at the same time. The image hovers between clarity and fragmentation, held together through quick shifts of color, pressure, and gesture. What first reads as a coherent structure slowly gives way to something more unstable and psychological.

There’s a strange tension in the work between thrill and disorientation, nostalgia and unease, as though the painting is capturing the sensation of anticipation itself.

Alex Hutton
𝘊𝘶𝘴𝘱, 2025
Oil on linen
34 x 40 in (86.4 x 101.6 cm)

Currently on view in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Leigh Suggs at Main Projects.

@alex_ross_hutton

There’s something deeply human in the way Leigh Suggs builds a surface. You can feel the time in it. The repetition. The adjustment. The moments where a structure almost holds and then slips into something softer, stranger, less certain.

Her works begin with systems we think we recognize - grids, frameworks, patterns meant to organize space - but through cutting, layering, and reassembling painted surfaces entirely by hand, those systems become unstable. They bend inward. They knot around themselves. They start to feel emotional rather than architectural.

In 𝘛𝘩𝘦𝘳𝘦 𝘞𝘢𝘴 𝘢 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘐 (2026), looping gridded forms fold and weave across the composition like a thought trying to find its way through itself. The work carries this beautiful tension between containment and release, as though the structure is still in the process of becoming.

On view in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯 through May 28 at Main Projects.

Leigh Suggs
𝘛𝘩𝘦𝘳𝘦 𝘞𝘢𝘴 𝘢 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘐, 2026
Handcut, acrylic on synthetic paper
24 × 36 in (unframed)
27 × 39 × 1 ½ in (framed)

@leighsuggs

#leighsuggs #mainprojects #contemporaryart #rva

There’s something deeply human in the way Leigh Suggs builds a surface. You can feel the time in it. The repetition. The adjustment. The moments where a structure almost holds and then slips into something softer, stranger, less certain.

Her works begin with systems we think we recognize - grids, frameworks, patterns meant to organize space - but through cutting, layering, and reassembling painted surfaces entirely by hand, those systems become unstable. They bend inward. They knot around themselves. They start to feel emotional rather than architectural.

In 𝘛𝘩𝘦𝘳𝘦 𝘞𝘢𝘴 𝘢 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘐 (2026), looping gridded forms fold and weave across the composition like a thought trying to find its way through itself. The work carries this beautiful tension between containment and release, as though the structure is still in the process of becoming.

On view in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯 through May 28 at Main Projects.

Leigh Suggs
𝘛𝘩𝘦𝘳𝘦 𝘞𝘢𝘴 𝘢 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘐, 2026
Handcut, acrylic on synthetic paper
24 × 36 in (unframed)
27 × 39 × 1 ½ in (framed)

@leighsuggs

#leighsuggs #mainprojects #contemporaryart #rva

There’s something deeply human in the way Leigh Suggs builds a surface. You can feel the time in it. The repetition. The adjustment. The moments where a structure almost holds and then slips into something softer, stranger, less certain.

Her works begin with systems we think we recognize - grids, frameworks, patterns meant to organize space - but through cutting, layering, and reassembling painted surfaces entirely by hand, those systems become unstable. They bend inward. They knot around themselves. They start to feel emotional rather than architectural.

In 𝘛𝘩𝘦𝘳𝘦 𝘞𝘢𝘴 𝘢 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘐 (2026), looping gridded forms fold and weave across the composition like a thought trying to find its way through itself. The work carries this beautiful tension between containment and release, as though the structure is still in the process of becoming.

On view in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯 through May 28 at Main Projects.

Leigh Suggs
𝘛𝘩𝘦𝘳𝘦 𝘞𝘢𝘴 𝘢 𝘞𝘢𝘺 𝘖𝘶𝘵 𝘐𝘐, 2026
Handcut, acrylic on synthetic paper
24 × 36 in (unframed)
27 × 39 × 1 ½ in (framed)

@leighsuggs

#leighsuggs #mainprojects #contemporaryart #rva

Amanda Baldwin in the studio, working on her first monoprint series, debuting at Main Projects this summer.

Developed in collaboration with master printmaker Brad Ewing of @marginaleditions , these works extend Baldwin’s painterly language into print. Built layer by layer, the compositions draw on her use of repeated motifs and stratified surfaces.

Spiral forms, central to her recent paintings, begin to organize the image here, compressing landscape into something more distilled and rhythmic, where structure and atmosphere are held in tension.

At Main Projects, we’re committed to supporting artists as they expand their practices into new mediums, and to honoring printmaking and editions as sites of rigor, experimentation, and formal invention.

Baldwin’s solo exhibition Sun Rose opens @jasonhaam in Seoul on May 9.

Devin Cecil-Wishing
𝘖𝘶𝘵𝘴𝘬𝘪𝘳𝘵𝘴 #7: 𝘝𝘢𝘴𝘢𝘯𝘢𝘴, 2025
Oil on linen
18 x 24 in

A tangle of eels, a scatter of coins, and no clear hierarchy. In V𝘖𝘶𝘵𝘴𝘬𝘪𝘳𝘵𝘴 #7: 𝘝𝘢𝘴𝘢𝘯𝘢𝘴, desire mutates into something more restless. The title comes from Vedic philosophy, where a vasana is a latent desire that, when pushed too far, tips into compulsion.

The painting builds without a fixed plan, each element added in response to the last. What begins as composition becomes pressure. What reads as order begins to slip.

On view in The Doors to Your Cage Shall Be Decked With Gold, Devin Cecil-Wishing’s solo exhibition at Main Projects, through May 28.

@devin_cecil_wishing

#contemporaryart #mainprojects #devincecilwishing

Devin Cecil-Wishing
𝘖𝘶𝘵𝘴𝘬𝘪𝘳𝘵𝘴 #7: 𝘝𝘢𝘴𝘢𝘯𝘢𝘴, 2025
Oil on linen
18 x 24 in

A tangle of eels, a scatter of coins, and no clear hierarchy. In V𝘖𝘶𝘵𝘴𝘬𝘪𝘳𝘵𝘴 #7: 𝘝𝘢𝘴𝘢𝘯𝘢𝘴, desire mutates into something more restless. The title comes from Vedic philosophy, where a vasana is a latent desire that, when pushed too far, tips into compulsion.

The painting builds without a fixed plan, each element added in response to the last. What begins as composition becomes pressure. What reads as order begins to slip.

On view in The Doors to Your Cage Shall Be Decked With Gold, Devin Cecil-Wishing’s solo exhibition at Main Projects, through May 28.

@devin_cecil_wishing

#contemporaryart #mainprojects #devincecilwishing

Devin Cecil-Wishing
𝘖𝘶𝘵𝘴𝘬𝘪𝘳𝘵𝘴 #7: 𝘝𝘢𝘴𝘢𝘯𝘢𝘴, 2025
Oil on linen
18 x 24 in

A tangle of eels, a scatter of coins, and no clear hierarchy. In V𝘖𝘶𝘵𝘴𝘬𝘪𝘳𝘵𝘴 #7: 𝘝𝘢𝘴𝘢𝘯𝘢𝘴, desire mutates into something more restless. The title comes from Vedic philosophy, where a vasana is a latent desire that, when pushed too far, tips into compulsion.

The painting builds without a fixed plan, each element added in response to the last. What begins as composition becomes pressure. What reads as order begins to slip.

On view in The Doors to Your Cage Shall Be Decked With Gold, Devin Cecil-Wishing’s solo exhibition at Main Projects, through May 28.

@devin_cecil_wishing

#contemporaryart #mainprojects #devincecilwishing

Devin Cecil-Wishing
𝘖𝘶𝘵𝘴𝘬𝘪𝘳𝘵𝘴 #7: 𝘝𝘢𝘴𝘢𝘯𝘢𝘴, 2025
Oil on linen
18 x 24 in

A tangle of eels, a scatter of coins, and no clear hierarchy. In V𝘖𝘶𝘵𝘴𝘬𝘪𝘳𝘵𝘴 #7: 𝘝𝘢𝘴𝘢𝘯𝘢𝘴, desire mutates into something more restless. The title comes from Vedic philosophy, where a vasana is a latent desire that, when pushed too far, tips into compulsion.

The painting builds without a fixed plan, each element added in response to the last. What begins as composition becomes pressure. What reads as order begins to slip.

On view in The Doors to Your Cage Shall Be Decked With Gold, Devin Cecil-Wishing’s solo exhibition at Main Projects, through May 28.

@devin_cecil_wishing

#contemporaryart #mainprojects #devincecilwishing

In Alex Hutton’s work, 𝘍𝘳𝘦𝘵, the structure holds, but something underneath it feels unsettled. The rollercoaster appears as a familiar, almost nostalgic form, though the subject is less the structure itself than the anticipation it generates - a moment just before activation, where possibility and collapse sit side by side.

@alex_ross_hutton

𝘍𝘳𝘦𝘵, 2025
Oil on linen
24 x 52 in

Opening tomorrow, April 30, 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯 is a two-person exhibition featuring Alex Hutton and Leigh Suggs.
5–7:30pm
Main Projects

In Alex Hutton’s work, 𝘍𝘳𝘦𝘵, the structure holds, but something underneath it feels unsettled. The rollercoaster appears as a familiar, almost nostalgic form, though the subject is less the structure itself than the anticipation it generates - a moment just before activation, where possibility and collapse sit side by side.

@alex_ross_hutton

𝘍𝘳𝘦𝘵, 2025
Oil on linen
24 x 52 in

Opening tomorrow, April 30, 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯 is a two-person exhibition featuring Alex Hutton and Leigh Suggs.
5–7:30pm
Main Projects

Devin Cecil-Wishing
𝘛𝘩𝘦 𝘊𝘪𝘳𝘤𝘶𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘞𝘪𝘴𝘩𝘪𝘯𝘨 𝘞𝘦𝘭𝘭, 2026
Oil on linen
16 x 20 in (40.6 x 50.8 cm)

Two fish rest on the table, but nothing here feels entirely still. The scene feels carefully arranged, almost staged, and just slightly off.

Devin builds his paintings without a fixed plan, adding each element one at a time until something begins to take shape. The tulips, drawn from earlier studies, reappear here almost intact, so the painting holds multiple moments at once.

What emerges sits somewhere between still life and allegory, where it’s not always clear what we’re looking at, or how the pieces fit together.

The title, drawn from a Jimi Hendrix lyric, carries that same sense of spectacle and exchange.

On view in 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘸𝘪𝘵𝘩 𝘎𝘰𝘭𝘥, opening Thursday, April 30 at Main Projects.

@devin_cecil_wishing

#mainprojects #devincecilwishing #rva #contemporaryart

Devin Cecil-Wishing
𝘛𝘩𝘦 𝘊𝘪𝘳𝘤𝘶𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘞𝘪𝘴𝘩𝘪𝘯𝘨 𝘞𝘦𝘭𝘭, 2026
Oil on linen
16 x 20 in (40.6 x 50.8 cm)

Two fish rest on the table, but nothing here feels entirely still. The scene feels carefully arranged, almost staged, and just slightly off.

Devin builds his paintings without a fixed plan, adding each element one at a time until something begins to take shape. The tulips, drawn from earlier studies, reappear here almost intact, so the painting holds multiple moments at once.

What emerges sits somewhere between still life and allegory, where it’s not always clear what we’re looking at, or how the pieces fit together.

The title, drawn from a Jimi Hendrix lyric, carries that same sense of spectacle and exchange.

On view in 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘸𝘪𝘵𝘩 𝘎𝘰𝘭𝘥, opening Thursday, April 30 at Main Projects.

@devin_cecil_wishing

#mainprojects #devincecilwishing #rva #contemporaryart

𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀
@leighsuggs

There’s something quietly insistent about the way Leigh Suggs builds a surface.

What begins as a grid doesn’t stay that way for long. It bends, opens, starts to give. Through a process of painting, layering, and cutting, she turns structure into something more tentative, something that feels like it could shift if you look at it too quickly.

Her work is as much about what’s removed as what remains. Cutting becomes a way of searching. Openings aren’t interruptions, they’re discoveries.

Up close, the surface feels almost woven. Light moves through it. The work never fully settles, it keeps changing as you spend time with it.

There’s a kind of belief in that. That something can shift, just by staying with it a little longer.

—
Suggs will be featured in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Alex Hutton, opening April 30 at Main Projects.

#leighsuggs #rva #contemporaryart

𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀
@leighsuggs

There’s something quietly insistent about the way Leigh Suggs builds a surface.

What begins as a grid doesn’t stay that way for long. It bends, opens, starts to give. Through a process of painting, layering, and cutting, she turns structure into something more tentative, something that feels like it could shift if you look at it too quickly.

Her work is as much about what’s removed as what remains. Cutting becomes a way of searching. Openings aren’t interruptions, they’re discoveries.

Up close, the surface feels almost woven. Light moves through it. The work never fully settles, it keeps changing as you spend time with it.

There’s a kind of belief in that. That something can shift, just by staying with it a little longer.

—
Suggs will be featured in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Alex Hutton, opening April 30 at Main Projects.

#leighsuggs #rva #contemporaryart

𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀
@leighsuggs

There’s something quietly insistent about the way Leigh Suggs builds a surface.

What begins as a grid doesn’t stay that way for long. It bends, opens, starts to give. Through a process of painting, layering, and cutting, she turns structure into something more tentative, something that feels like it could shift if you look at it too quickly.

Her work is as much about what’s removed as what remains. Cutting becomes a way of searching. Openings aren’t interruptions, they’re discoveries.

Up close, the surface feels almost woven. Light moves through it. The work never fully settles, it keeps changing as you spend time with it.

There’s a kind of belief in that. That something can shift, just by staying with it a little longer.

—
Suggs will be featured in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Alex Hutton, opening April 30 at Main Projects.

#leighsuggs #rva #contemporaryart

𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀
@leighsuggs

There’s something quietly insistent about the way Leigh Suggs builds a surface.

What begins as a grid doesn’t stay that way for long. It bends, opens, starts to give. Through a process of painting, layering, and cutting, she turns structure into something more tentative, something that feels like it could shift if you look at it too quickly.

Her work is as much about what’s removed as what remains. Cutting becomes a way of searching. Openings aren’t interruptions, they’re discoveries.

Up close, the surface feels almost woven. Light moves through it. The work never fully settles, it keeps changing as you spend time with it.

There’s a kind of belief in that. That something can shift, just by staying with it a little longer.

—
Suggs will be featured in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Alex Hutton, opening April 30 at Main Projects.

#leighsuggs #rva #contemporaryart

𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀
@leighsuggs

There’s something quietly insistent about the way Leigh Suggs builds a surface.

What begins as a grid doesn’t stay that way for long. It bends, opens, starts to give. Through a process of painting, layering, and cutting, she turns structure into something more tentative, something that feels like it could shift if you look at it too quickly.

Her work is as much about what’s removed as what remains. Cutting becomes a way of searching. Openings aren’t interruptions, they’re discoveries.

Up close, the surface feels almost woven. Light moves through it. The work never fully settles, it keeps changing as you spend time with it.

There’s a kind of belief in that. That something can shift, just by staying with it a little longer.

—
Suggs will be featured in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Alex Hutton, opening April 30 at Main Projects.

#leighsuggs #rva #contemporaryart

𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀
@leighsuggs

There’s something quietly insistent about the way Leigh Suggs builds a surface.

What begins as a grid doesn’t stay that way for long. It bends, opens, starts to give. Through a process of painting, layering, and cutting, she turns structure into something more tentative, something that feels like it could shift if you look at it too quickly.

Her work is as much about what’s removed as what remains. Cutting becomes a way of searching. Openings aren’t interruptions, they’re discoveries.

Up close, the surface feels almost woven. Light moves through it. The work never fully settles, it keeps changing as you spend time with it.

There’s a kind of belief in that. That something can shift, just by staying with it a little longer.

—
Suggs will be featured in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Alex Hutton, opening April 30 at Main Projects.

#leighsuggs #rva #contemporaryart

𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀
@leighsuggs

There’s something quietly insistent about the way Leigh Suggs builds a surface.

What begins as a grid doesn’t stay that way for long. It bends, opens, starts to give. Through a process of painting, layering, and cutting, she turns structure into something more tentative, something that feels like it could shift if you look at it too quickly.

Her work is as much about what’s removed as what remains. Cutting becomes a way of searching. Openings aren’t interruptions, they’re discoveries.

Up close, the surface feels almost woven. Light moves through it. The work never fully settles, it keeps changing as you spend time with it.

There’s a kind of belief in that. That something can shift, just by staying with it a little longer.

—
Suggs will be featured in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Alex Hutton, opening April 30 at Main Projects.

#leighsuggs #rva #contemporaryart

𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀
@leighsuggs

There’s something quietly insistent about the way Leigh Suggs builds a surface.

What begins as a grid doesn’t stay that way for long. It bends, opens, starts to give. Through a process of painting, layering, and cutting, she turns structure into something more tentative, something that feels like it could shift if you look at it too quickly.

Her work is as much about what’s removed as what remains. Cutting becomes a way of searching. Openings aren’t interruptions, they’re discoveries.

Up close, the surface feels almost woven. Light moves through it. The work never fully settles, it keeps changing as you spend time with it.

There’s a kind of belief in that. That something can shift, just by staying with it a little longer.

—
Suggs will be featured in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Alex Hutton, opening April 30 at Main Projects.

#leighsuggs #rva #contemporaryart

𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀
@leighsuggs

There’s something quietly insistent about the way Leigh Suggs builds a surface.

What begins as a grid doesn’t stay that way for long. It bends, opens, starts to give. Through a process of painting, layering, and cutting, she turns structure into something more tentative, something that feels like it could shift if you look at it too quickly.

Her work is as much about what’s removed as what remains. Cutting becomes a way of searching. Openings aren’t interruptions, they’re discoveries.

Up close, the surface feels almost woven. Light moves through it. The work never fully settles, it keeps changing as you spend time with it.

There’s a kind of belief in that. That something can shift, just by staying with it a little longer.

—
Suggs will be featured in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Alex Hutton, opening April 30 at Main Projects.

#leighsuggs #rva #contemporaryart

There’s a moment when a house is all frame - open, exposed, full of possibility, but not yet a place to live.

In these new works, Alex Hutton stays there.

The structure holds, but just barely. The longer you look, the more it seems to shift - something between construction and collapse, anticipation and absence.

On view in 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition with Leigh Suggs, opening April 30 at Main Projects. Opening reception 5–7:30pm.

Alex Hutton
𝘋𝘰𝘶𝘣𝘭𝘪𝘯𝘨, 2025
Oil on linen
26 x 32 in (66 x 81.3 cm)

@alex_ross_hutton

#alexhutton #contemporaryart #rva

Main Projects presents 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition of new work by 𝗔𝗹𝗲𝘅 𝗛𝘂𝘁𝘁𝗼𝗻 and 𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀. The exhibition centers on suspension and anticipation, where structures hold, shift, and resist resolution. Across painting and constructed surfaces, forms remain unsettled, caught between construction and collapse, as if something is about to unfold but is still holding its breath.

Opening Reception
Thursday, April 30
5–7:30 PM

@alex_ross_hutton @leighsuggs

#alexhutton #leighsuggs #contemporaryart

Main Projects presents 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition of new work by 𝗔𝗹𝗲𝘅 𝗛𝘂𝘁𝘁𝗼𝗻 and 𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀. The exhibition centers on suspension and anticipation, where structures hold, shift, and resist resolution. Across painting and constructed surfaces, forms remain unsettled, caught between construction and collapse, as if something is about to unfold but is still holding its breath.

Opening Reception
Thursday, April 30
5–7:30 PM

@alex_ross_hutton @leighsuggs

#alexhutton #leighsuggs #contemporaryart

Main Projects presents 𝘏𝘰𝘭𝘥𝘪𝘯𝘨 𝘗𝘢𝘵𝘵𝘦𝘳𝘯, a two-person exhibition of new work by 𝗔𝗹𝗲𝘅 𝗛𝘂𝘁𝘁𝗼𝗻 and 𝗟𝗲𝗶𝗴𝗵 𝗦𝘂𝗴𝗴𝘀. The exhibition centers on suspension and anticipation, where structures hold, shift, and resist resolution. Across painting and constructed surfaces, forms remain unsettled, caught between construction and collapse, as if something is about to unfold but is still holding its breath.

Opening Reception
Thursday, April 30
5–7:30 PM

@alex_ross_hutton @leighsuggs

#alexhutton #leighsuggs #contemporaryart

Main Projects is pleased to announce 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘸𝘪𝘵𝘩 𝘎𝘰𝘭𝘥, a solo exhibition of new paintings by 𝗗𝗲𝘃𝗶𝗻 𝗖𝗲𝗰𝗶𝗹-𝗪𝗶𝘀𝗵𝗶𝗻𝗴 @devin_cecil_wishing opening April 30th.

This is the artist’s first presentation with the gallery. Across seven paintings, Cecil-Wishing examines systems of power, material desire, and how value and ownership take shape.

Fish sourced from local markets are painted in a single sitting before their physical state begins to shift. Each composition is built without preparatory drawings or photographic reference, developing one form at a time.

Drawing on Baroque Dutch and Flemish painting, he works with historically rooted processes and pigments including lead white, vermilion, and Naples yellow.

Fish operate as both subject and structure, suspended between still life and allegory, where accumulation, hierarchy, and exchange remain in flux.

—
Pictured:
Devin Cecil-Wishing
𝘛𝘩𝘰𝘶𝘨𝘩 𝘐 𝘧𝘦𝘭𝘭 𝘶𝘯𝘥𝘦𝘳 𝘵𝘩𝘦 𝘸𝘢𝘵𝘦𝘳, 𝘪𝘵 𝘢𝘭𝘭 𝘭𝘰𝘰𝘬𝘦𝘥 𝘱𝘳𝘰𝘧𝘰𝘶𝘯𝘥𝘭𝘺 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦, 2026
Oil on linen
16 x 20 in (40.6 x 50.8 cm)