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𝗕𝗿𝗶𝗲 𝗥𝘂𝗮𝗶𝘀
𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯, 130𝘭𝘣𝘴, 2025
Stoneware, glaze, hardware
74 1/2 x 71 x 3 in

Brie Ruais begins each sculpture with a mound of clay equal to her own body weight. Kneeling, pressing, and pushing outward with sustained force, she works the material through the full movement of her body, allowing breath and exertion to register directly on the surface.

The clay is later torn, fired, and reassembled with deliberate spacing between fragments. In 𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯 the reconfigured mass takes on a botanical logic, unfolding outward like a form in the midst of growth.

On view in 𝘉𝘰𝘥𝘪𝘦𝘴 𝘰𝘧 𝘉𝘦𝘤𝘰𝘮𝘪𝘯𝘨 through April 18, Ruais’s work approaches transformation not as a fixed outcome but as something lived through the body, shaped through repetition, resistance, and contact with the earth.

@brie_ruais

#brieruais #mainprojects

𝗕𝗿𝗶𝗲 𝗥𝘂𝗮𝗶𝘀
𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯, 130𝘭𝘣𝘴, 2025
Stoneware, glaze, hardware
74 1/2 x 71 x 3 in

Brie Ruais begins each sculpture with a mound of clay equal to her own body weight. Kneeling, pressing, and pushing outward with sustained force, she works the material through the full movement of her body, allowing breath and exertion to register directly on the surface.

The clay is later torn, fired, and reassembled with deliberate spacing between fragments. In 𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯 the reconfigured mass takes on a botanical logic, unfolding outward like a form in the midst of growth.

On view in 𝘉𝘰𝘥𝘪𝘦𝘴 𝘰𝘧 𝘉𝘦𝘤𝘰𝘮𝘪𝘯𝘨 through April 18, Ruais’s work approaches transformation not as a fixed outcome but as something lived through the body, shaped through repetition, resistance, and contact with the earth.

@brie_ruais

#brieruais #mainprojects

𝗕𝗿𝗶𝗲 𝗥𝘂𝗮𝗶𝘀
𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯, 130𝘭𝘣𝘴, 2025
Stoneware, glaze, hardware
74 1/2 x 71 x 3 in

Brie Ruais begins each sculpture with a mound of clay equal to her own body weight. Kneeling, pressing, and pushing outward with sustained force, she works the material through the full movement of her body, allowing breath and exertion to register directly on the surface.

The clay is later torn, fired, and reassembled with deliberate spacing between fragments. In 𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯 the reconfigured mass takes on a botanical logic, unfolding outward like a form in the midst of growth.

On view in 𝘉𝘰𝘥𝘪𝘦𝘴 𝘰𝘧 𝘉𝘦𝘤𝘰𝘮𝘪𝘯𝘨 through April 18, Ruais’s work approaches transformation not as a fixed outcome but as something lived through the body, shaped through repetition, resistance, and contact with the earth.

@brie_ruais

#brieruais #mainprojects

𝗕𝗿𝗶𝗲 𝗥𝘂𝗮𝗶𝘀
𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯, 130𝘭𝘣𝘴, 2025
Stoneware, glaze, hardware
74 1/2 x 71 x 3 in

Brie Ruais begins each sculpture with a mound of clay equal to her own body weight. Kneeling, pressing, and pushing outward with sustained force, she works the material through the full movement of her body, allowing breath and exertion to register directly on the surface.

The clay is later torn, fired, and reassembled with deliberate spacing between fragments. In 𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯 the reconfigured mass takes on a botanical logic, unfolding outward like a form in the midst of growth.

On view in 𝘉𝘰𝘥𝘪𝘦𝘴 𝘰𝘧 𝘉𝘦𝘤𝘰𝘮𝘪𝘯𝘨 through April 18, Ruais’s work approaches transformation not as a fixed outcome but as something lived through the body, shaped through repetition, resistance, and contact with the earth.

@brie_ruais

#brieruais #mainprojects

𝗕𝗿𝗶𝗲 𝗥𝘂𝗮𝗶𝘀
𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯, 130𝘭𝘣𝘴, 2025
Stoneware, glaze, hardware
74 1/2 x 71 x 3 in

Brie Ruais begins each sculpture with a mound of clay equal to her own body weight. Kneeling, pressing, and pushing outward with sustained force, she works the material through the full movement of her body, allowing breath and exertion to register directly on the surface.

The clay is later torn, fired, and reassembled with deliberate spacing between fragments. In 𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯 the reconfigured mass takes on a botanical logic, unfolding outward like a form in the midst of growth.

On view in 𝘉𝘰𝘥𝘪𝘦𝘴 𝘰𝘧 𝘉𝘦𝘤𝘰𝘮𝘪𝘯𝘨 through April 18, Ruais’s work approaches transformation not as a fixed outcome but as something lived through the body, shaped through repetition, resistance, and contact with the earth.

@brie_ruais

#brieruais #mainprojects

𝗕𝗿𝗶𝗲 𝗥𝘂𝗮𝗶𝘀
𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯, 130𝘭𝘣𝘴, 2025
Stoneware, glaze, hardware
74 1/2 x 71 x 3 in

Brie Ruais begins each sculpture with a mound of clay equal to her own body weight. Kneeling, pressing, and pushing outward with sustained force, she works the material through the full movement of her body, allowing breath and exertion to register directly on the surface.

The clay is later torn, fired, and reassembled with deliberate spacing between fragments. In 𝘗𝘦𝘵𝘢𝘭𝘪𝘯𝘨 𝘞𝘪𝘵𝘩𝘪𝘯 the reconfigured mass takes on a botanical logic, unfolding outward like a form in the midst of growth.

On view in 𝘉𝘰𝘥𝘪𝘦𝘴 𝘰𝘧 𝘉𝘦𝘤𝘰𝘮𝘪𝘯𝘨 through April 18, Ruais’s work approaches transformation not as a fixed outcome but as something lived through the body, shaped through repetition, resistance, and contact with the earth.

@brie_ruais

#brieruais #mainprojects

𝗠𝗮𝗿𝗶𝘀𝗮 𝗔𝗱𝗲𝘀𝗺𝗮𝗻
Red in Tooth and Claw, 2025
Oil on paper
Unframed: 22 x 30 inches (55.9 x 76.2 cm), paper size; image: 13 11/16 x 22 1/2 inches (34.75 x 57.15 cm); framed: 31 1/4 x 38 3/4 inches. (79.4 x 98.4 cm)

Marisa Adesman’s paintings transform domestic interiors into charged psychological spaces where beauty and danger coexist. Drawing on Dutch still life and surrealist traditions, she examines the thin line between desire and violence, tenderness and control. 𝘙𝘦𝘥 𝘪𝘯 𝘛𝘰𝘰𝘵𝘩 𝘢𝘯𝘥 𝘊𝘭𝘢𝘸 takes its title from Tennyson’s In Memoriam A.H.H., a phrase describing nature’s indifference to human morality. In this composition, flowers wilt, skin flushes, and a porcelain vessel becomes both armor and wound. In dialogue with Dalí’s 𝘛𝘩𝘦 𝘎𝘰𝘥 𝘰𝘧 𝘵𝘩𝘦 𝘉𝘢𝘺 𝘰𝘧 𝘙𝘰𝘴𝘦𝘴, Adesman channels his fascination with sensuality and rupture into a more intimate register—where the boundaries between pleasure, power, and pain dissolve.

On view in 𝘛𝘩𝘦 𝘎𝘰𝘥 𝘰𝘧 𝘵𝘩𝘦 𝘉𝘢𝘺 𝘰𝘧 𝘙𝘰𝘴𝘦𝘴 through December 18th.

@marisaadesman

#contemporaryart #surrealism #marisaadesman #mainprojects

𝗠𝗮𝗿𝗶𝘀𝗮 𝗔𝗱𝗲𝘀𝗺𝗮𝗻
Red in Tooth and Claw, 2025
Oil on paper
Unframed: 22 x 30 inches (55.9 x 76.2 cm), paper size; image: 13 11/16 x 22 1/2 inches (34.75 x 57.15 cm); framed: 31 1/4 x 38 3/4 inches. (79.4 x 98.4 cm)

Marisa Adesman’s paintings transform domestic interiors into charged psychological spaces where beauty and danger coexist. Drawing on Dutch still life and surrealist traditions, she examines the thin line between desire and violence, tenderness and control. 𝘙𝘦𝘥 𝘪𝘯 𝘛𝘰𝘰𝘵𝘩 𝘢𝘯𝘥 𝘊𝘭𝘢𝘸 takes its title from Tennyson’s In Memoriam A.H.H., a phrase describing nature’s indifference to human morality. In this composition, flowers wilt, skin flushes, and a porcelain vessel becomes both armor and wound. In dialogue with Dalí’s 𝘛𝘩𝘦 𝘎𝘰𝘥 𝘰𝘧 𝘵𝘩𝘦 𝘉𝘢𝘺 𝘰𝘧 𝘙𝘰𝘴𝘦𝘴, Adesman channels his fascination with sensuality and rupture into a more intimate register—where the boundaries between pleasure, power, and pain dissolve.

On view in 𝘛𝘩𝘦 𝘎𝘰𝘥 𝘰𝘧 𝘵𝘩𝘦 𝘉𝘢𝘺 𝘰𝘧 𝘙𝘰𝘴𝘦𝘴 through December 18th.

@marisaadesman

#contemporaryart #surrealism #marisaadesman #mainprojects

𝙇𝙤𝙫𝙚𝙧𝙨, Main Projects’ inaugural flagship exhibition, opens Friday, February 7th, following a private reception on the 6th. 

This presentation features works by Amanda Baldwin, Gina Beavers, Holly Coulis, Diana al-Hadid, Sacha Ingber, Tahnee Lonsdale, Laird Gough, Loie Hollowell, Matthew F Fisher, Liz Nielsen, Chris Oh, Veronika Pausova, LaRissa Rogers, Meghann Stephenson, Cat Spilman, and Sandy Williams IV.
Also on view are exclusive editions by Ryan McGinness and a collaborative edition by partners Leigh Suggs & Daniel Rickey.

Co-organized by Elizabeth Dolan Wright of the Common Wealth Public Art Fund, which is headquartered in the Main Projects space reflecting our shared mission to bring to expand access to art and foster meaningful community engagement.

Meghann Stephenson, 𝘔𝘪𝘴𝘵𝘢𝘬𝘦𝘯 𝘧𝘰𝘳 𝘚𝘵𝘳𝘢𝘯𝘨𝘦𝘳𝘴, 2025, oil on canvas, 40 x 30 inches. ✨

Please join us. We can’t wait to welcome you into our space!

@amanda.c.baldwin @gina_beavers @hollycoulis @dianaalhadid @sachingber @tahneelonsdale @lairdgough @loiehollowell @liz_nielsen217 @cchris.ohh @veronikapausova @larissa_rogers @meghannstephenson @sandywilliams_iv @mcginnessworks @leighsuggs @matthewffisher @daniel_rickey_furniture @catannedunlea

@lauramartinmills@edolanwright @cwpublicart @poli.dork

𝙇𝙤𝙫𝙚𝙧𝙨, Main Projects’ inaugural flagship exhibition, opens Friday, February 7th, following a private reception on the 6th. 

This presentation features works by Amanda Baldwin, Gina Beavers, Holly Coulis, Diana al-Hadid, Sacha Ingber, Tahnee Lonsdale, Laird Gough, Loie Hollowell, Matthew F Fisher, Liz Nielsen, Chris Oh, Veronika Pausova, LaRissa Rogers, Meghann Stephenson, Cat Spilman, and Sandy Williams IV.
Also on view are exclusive editions by Ryan McGinness and a collaborative edition by partners Leigh Suggs & Daniel Rickey.

Co-organized by Elizabeth Dolan Wright of the Common Wealth Public Art Fund, which is headquartered in the Main Projects space reflecting our shared mission to bring to expand access to art and foster meaningful community engagement.

Meghann Stephenson, 𝘔𝘪𝘴𝘵𝘢𝘬𝘦𝘯 𝘧𝘰𝘳 𝘚𝘵𝘳𝘢𝘯𝘨𝘦𝘳𝘴, 2025, oil on canvas, 40 x 30 inches. ✨

Please join us. We can’t wait to welcome you into our space!

@amanda.c.baldwin @gina_beavers @hollycoulis @dianaalhadid @sachingber @tahneelonsdale @lairdgough @loiehollowell @liz_nielsen217 @cchris.ohh @veronikapausova @larissa_rogers @meghannstephenson @sandywilliams_iv @mcginnessworks @leighsuggs @matthewffisher @daniel_rickey_furniture @catannedunlea

@lauramartinmills@edolanwright @cwpublicart @poli.dork

Opening in June: 𝘛𝘩𝘦 𝘛𝘢𝘴𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 by Abbi Kenny.

This will be the artist’s first solo exhibition with the gallery, opening June 4th.

There’s something wonderfully excessive about these paintings. Wheels of cheese, shellfish, martini olives, polished serving surfaces, and tiny ornamental details compete for attention like guests at a dinner party that has gone on too long in the best possible way. Everything feels lush, slightly chaotic, seductive, funny, and just a little uncanny.

Drawing from family recipes, seafood markets, historical cookbooks, internet imagery, and personal archives, Kenny builds her paintings through accumulation and play. Images are layered, interrupted, rearranged, and transformed until they begin to feel suspended somewhere between still life, collage, advertisement, and staged display.

That same sense of accumulation carries into the surfaces themselves. Built through sanding, masking, pouring, embellishing, and layering, the paintings incorporate raw pigment alongside materials like glitter, mica, pumice, glass flakes, and semi-precious stones. Up close, the illusion starts to break apart into texture, shimmer, grit, and fragments of material.

The works feel deeply interested in appetite - not just for food, but for beauty, ornament, nostalgia, indulgence, and image-making itself. Preparation becomes performance. Decoration becomes structure. Meaning emerges slowly through repetition, juxtaposition, and excess.

Featured work:
Homage to the Mongers and the Makers (2026)
Acrylic, acrylic gouache, chalk, molding paste, glass flakes, and malachite on canvas
55 1/4 × 33 1/4 in

@abbihkenny

#abbikenny #mainprojects

Opening in June: 𝘛𝘩𝘦 𝘛𝘢𝘴𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 by Abbi Kenny.

This will be the artist’s first solo exhibition with the gallery, opening June 4th.

There’s something wonderfully excessive about these paintings. Wheels of cheese, shellfish, martini olives, polished serving surfaces, and tiny ornamental details compete for attention like guests at a dinner party that has gone on too long in the best possible way. Everything feels lush, slightly chaotic, seductive, funny, and just a little uncanny.

Drawing from family recipes, seafood markets, historical cookbooks, internet imagery, and personal archives, Kenny builds her paintings through accumulation and play. Images are layered, interrupted, rearranged, and transformed until they begin to feel suspended somewhere between still life, collage, advertisement, and staged display.

That same sense of accumulation carries into the surfaces themselves. Built through sanding, masking, pouring, embellishing, and layering, the paintings incorporate raw pigment alongside materials like glitter, mica, pumice, glass flakes, and semi-precious stones. Up close, the illusion starts to break apart into texture, shimmer, grit, and fragments of material.

The works feel deeply interested in appetite - not just for food, but for beauty, ornament, nostalgia, indulgence, and image-making itself. Preparation becomes performance. Decoration becomes structure. Meaning emerges slowly through repetition, juxtaposition, and excess.

Featured work:
Homage to the Mongers and the Makers (2026)
Acrylic, acrylic gouache, chalk, molding paste, glass flakes, and malachite on canvas
55 1/4 × 33 1/4 in

@abbihkenny

#abbikenny #mainprojects

Opening in June: 𝘛𝘩𝘦 𝘛𝘢𝘴𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 by Abbi Kenny.

This will be the artist’s first solo exhibition with the gallery, opening June 4th.

There’s something wonderfully excessive about these paintings. Wheels of cheese, shellfish, martini olives, polished serving surfaces, and tiny ornamental details compete for attention like guests at a dinner party that has gone on too long in the best possible way. Everything feels lush, slightly chaotic, seductive, funny, and just a little uncanny.

Drawing from family recipes, seafood markets, historical cookbooks, internet imagery, and personal archives, Kenny builds her paintings through accumulation and play. Images are layered, interrupted, rearranged, and transformed until they begin to feel suspended somewhere between still life, collage, advertisement, and staged display.

That same sense of accumulation carries into the surfaces themselves. Built through sanding, masking, pouring, embellishing, and layering, the paintings incorporate raw pigment alongside materials like glitter, mica, pumice, glass flakes, and semi-precious stones. Up close, the illusion starts to break apart into texture, shimmer, grit, and fragments of material.

The works feel deeply interested in appetite - not just for food, but for beauty, ornament, nostalgia, indulgence, and image-making itself. Preparation becomes performance. Decoration becomes structure. Meaning emerges slowly through repetition, juxtaposition, and excess.

Featured work:
Homage to the Mongers and the Makers (2026)
Acrylic, acrylic gouache, chalk, molding paste, glass flakes, and malachite on canvas
55 1/4 × 33 1/4 in

@abbihkenny

#abbikenny #mainprojects

Opening in June: 𝘛𝘩𝘦 𝘛𝘢𝘴𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 by Abbi Kenny.

This will be the artist’s first solo exhibition with the gallery, opening June 4th.

There’s something wonderfully excessive about these paintings. Wheels of cheese, shellfish, martini olives, polished serving surfaces, and tiny ornamental details compete for attention like guests at a dinner party that has gone on too long in the best possible way. Everything feels lush, slightly chaotic, seductive, funny, and just a little uncanny.

Drawing from family recipes, seafood markets, historical cookbooks, internet imagery, and personal archives, Kenny builds her paintings through accumulation and play. Images are layered, interrupted, rearranged, and transformed until they begin to feel suspended somewhere between still life, collage, advertisement, and staged display.

That same sense of accumulation carries into the surfaces themselves. Built through sanding, masking, pouring, embellishing, and layering, the paintings incorporate raw pigment alongside materials like glitter, mica, pumice, glass flakes, and semi-precious stones. Up close, the illusion starts to break apart into texture, shimmer, grit, and fragments of material.

The works feel deeply interested in appetite - not just for food, but for beauty, ornament, nostalgia, indulgence, and image-making itself. Preparation becomes performance. Decoration becomes structure. Meaning emerges slowly through repetition, juxtaposition, and excess.

Featured work:
Homage to the Mongers and the Makers (2026)
Acrylic, acrylic gouache, chalk, molding paste, glass flakes, and malachite on canvas
55 1/4 × 33 1/4 in

@abbihkenny

#abbikenny #mainprojects

Opening in June: 𝘛𝘩𝘦 𝘛𝘢𝘴𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 by Abbi Kenny.

This will be the artist’s first solo exhibition with the gallery, opening June 4th.

There’s something wonderfully excessive about these paintings. Wheels of cheese, shellfish, martini olives, polished serving surfaces, and tiny ornamental details compete for attention like guests at a dinner party that has gone on too long in the best possible way. Everything feels lush, slightly chaotic, seductive, funny, and just a little uncanny.

Drawing from family recipes, seafood markets, historical cookbooks, internet imagery, and personal archives, Kenny builds her paintings through accumulation and play. Images are layered, interrupted, rearranged, and transformed until they begin to feel suspended somewhere between still life, collage, advertisement, and staged display.

That same sense of accumulation carries into the surfaces themselves. Built through sanding, masking, pouring, embellishing, and layering, the paintings incorporate raw pigment alongside materials like glitter, mica, pumice, glass flakes, and semi-precious stones. Up close, the illusion starts to break apart into texture, shimmer, grit, and fragments of material.

The works feel deeply interested in appetite - not just for food, but for beauty, ornament, nostalgia, indulgence, and image-making itself. Preparation becomes performance. Decoration becomes structure. Meaning emerges slowly through repetition, juxtaposition, and excess.

Featured work:
Homage to the Mongers and the Makers (2026)
Acrylic, acrylic gouache, chalk, molding paste, glass flakes, and malachite on canvas
55 1/4 × 33 1/4 in

@abbihkenny

#abbikenny #mainprojects

Opening in June: 𝘛𝘩𝘦 𝘛𝘢𝘴𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 by Abbi Kenny.

This will be the artist’s first solo exhibition with the gallery, opening June 4th.

There’s something wonderfully excessive about these paintings. Wheels of cheese, shellfish, martini olives, polished serving surfaces, and tiny ornamental details compete for attention like guests at a dinner party that has gone on too long in the best possible way. Everything feels lush, slightly chaotic, seductive, funny, and just a little uncanny.

Drawing from family recipes, seafood markets, historical cookbooks, internet imagery, and personal archives, Kenny builds her paintings through accumulation and play. Images are layered, interrupted, rearranged, and transformed until they begin to feel suspended somewhere between still life, collage, advertisement, and staged display.

That same sense of accumulation carries into the surfaces themselves. Built through sanding, masking, pouring, embellishing, and layering, the paintings incorporate raw pigment alongside materials like glitter, mica, pumice, glass flakes, and semi-precious stones. Up close, the illusion starts to break apart into texture, shimmer, grit, and fragments of material.

The works feel deeply interested in appetite - not just for food, but for beauty, ornament, nostalgia, indulgence, and image-making itself. Preparation becomes performance. Decoration becomes structure. Meaning emerges slowly through repetition, juxtaposition, and excess.

Featured work:
Homage to the Mongers and the Makers (2026)
Acrylic, acrylic gouache, chalk, molding paste, glass flakes, and malachite on canvas
55 1/4 × 33 1/4 in

@abbihkenny

#abbikenny #mainprojects

Opening in June: 𝘛𝘩𝘦 𝘛𝘢𝘴𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 by Abbi Kenny.

This will be the artist’s first solo exhibition with the gallery, opening June 4th.

There’s something wonderfully excessive about these paintings. Wheels of cheese, shellfish, martini olives, polished serving surfaces, and tiny ornamental details compete for attention like guests at a dinner party that has gone on too long in the best possible way. Everything feels lush, slightly chaotic, seductive, funny, and just a little uncanny.

Drawing from family recipes, seafood markets, historical cookbooks, internet imagery, and personal archives, Kenny builds her paintings through accumulation and play. Images are layered, interrupted, rearranged, and transformed until they begin to feel suspended somewhere between still life, collage, advertisement, and staged display.

That same sense of accumulation carries into the surfaces themselves. Built through sanding, masking, pouring, embellishing, and layering, the paintings incorporate raw pigment alongside materials like glitter, mica, pumice, glass flakes, and semi-precious stones. Up close, the illusion starts to break apart into texture, shimmer, grit, and fragments of material.

The works feel deeply interested in appetite - not just for food, but for beauty, ornament, nostalgia, indulgence, and image-making itself. Preparation becomes performance. Decoration becomes structure. Meaning emerges slowly through repetition, juxtaposition, and excess.

Featured work:
Homage to the Mongers and the Makers (2026)
Acrylic, acrylic gouache, chalk, molding paste, glass flakes, and malachite on canvas
55 1/4 × 33 1/4 in

@abbihkenny

#abbikenny #mainprojects

Opening in June: 𝘛𝘩𝘦 𝘛𝘢𝘴𝘵𝘪𝘯𝘨 𝘙𝘰𝘰𝘮 by Abbi Kenny.

This will be the artist’s first solo exhibition with the gallery, opening June 4th.

There’s something wonderfully excessive about these paintings. Wheels of cheese, shellfish, martini olives, polished serving surfaces, and tiny ornamental details compete for attention like guests at a dinner party that has gone on too long in the best possible way. Everything feels lush, slightly chaotic, seductive, funny, and just a little uncanny.

Drawing from family recipes, seafood markets, historical cookbooks, internet imagery, and personal archives, Kenny builds her paintings through accumulation and play. Images are layered, interrupted, rearranged, and transformed until they begin to feel suspended somewhere between still life, collage, advertisement, and staged display.

That same sense of accumulation carries into the surfaces themselves. Built through sanding, masking, pouring, embellishing, and layering, the paintings incorporate raw pigment alongside materials like glitter, mica, pumice, glass flakes, and semi-precious stones. Up close, the illusion starts to break apart into texture, shimmer, grit, and fragments of material.

The works feel deeply interested in appetite - not just for food, but for beauty, ornament, nostalgia, indulgence, and image-making itself. Preparation becomes performance. Decoration becomes structure. Meaning emerges slowly through repetition, juxtaposition, and excess.

Featured work:
Homage to the Mongers and the Makers (2026)
Acrylic, acrylic gouache, chalk, molding paste, glass flakes, and malachite on canvas
55 1/4 × 33 1/4 in

@abbihkenny

#abbikenny #mainprojects

Final days to see Devin Cecil-Wishing’s solo exhibition, 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘸𝘪𝘵𝘩 𝘎𝘰𝘭𝘥 at Main Projects.

Cecil-Wishing’s paintings merge the visual language of Dutch still life with contemporary questions around desire, ownership, excess, and material seduction - rendered through an intensely observational and historically rooted process.

On view through May 28.

📍1625 W Main Street, Richmond

#devincecilwishing #mainprojects #contemporaryart

Final days to see Devin Cecil-Wishing’s solo exhibition, 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘸𝘪𝘵𝘩 𝘎𝘰𝘭𝘥 at Main Projects.

Cecil-Wishing’s paintings merge the visual language of Dutch still life with contemporary questions around desire, ownership, excess, and material seduction - rendered through an intensely observational and historically rooted process.

On view through May 28.

📍1625 W Main Street, Richmond

#devincecilwishing #mainprojects #contemporaryart

Final days to see Devin Cecil-Wishing’s solo exhibition, 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘸𝘪𝘵𝘩 𝘎𝘰𝘭𝘥 at Main Projects.

Cecil-Wishing’s paintings merge the visual language of Dutch still life with contemporary questions around desire, ownership, excess, and material seduction - rendered through an intensely observational and historically rooted process.

On view through May 28.

📍1625 W Main Street, Richmond

#devincecilwishing #mainprojects #contemporaryart

Final days to see Devin Cecil-Wishing’s solo exhibition, 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘸𝘪𝘵𝘩 𝘎𝘰𝘭𝘥 at Main Projects.

Cecil-Wishing’s paintings merge the visual language of Dutch still life with contemporary questions around desire, ownership, excess, and material seduction - rendered through an intensely observational and historically rooted process.

On view through May 28.

📍1625 W Main Street, Richmond

#devincecilwishing #mainprojects #contemporaryart

Final days to see Devin Cecil-Wishing’s solo exhibition, 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘸𝘪𝘵𝘩 𝘎𝘰𝘭𝘥 at Main Projects.

Cecil-Wishing’s paintings merge the visual language of Dutch still life with contemporary questions around desire, ownership, excess, and material seduction - rendered through an intensely observational and historically rooted process.

On view through May 28.

📍1625 W Main Street, Richmond

#devincecilwishing #mainprojects #contemporaryart

Final days to see Devin Cecil-Wishing’s solo exhibition, 𝘛𝘩𝘦 𝘋𝘰𝘰𝘳𝘴 𝘵𝘰 𝘠𝘰𝘶𝘳 𝘊𝘢𝘨𝘦 𝘚𝘩𝘢𝘭𝘭 𝘉𝘦 𝘋𝘦𝘤𝘬𝘦𝘥 𝘸𝘪𝘵𝘩 𝘎𝘰𝘭𝘥 at Main Projects.

Cecil-Wishing’s paintings merge the visual language of Dutch still life with contemporary questions around desire, ownership, excess, and material seduction - rendered through an intensely observational and historically rooted process.

On view through May 28.

📍1625 W Main Street, Richmond

#devincecilwishing #mainprojects #contemporaryart

Main Projects is pleased to announce the release of 𝘛𝘩𝘳𝘰𝘶𝘨𝘩 𝘓𝘪𝘯𝘦, a new limited edition series by Richmond-based artist Leigh Suggs.

Known for her intricate, hand-cut works that exist between painting, sculpture, and craft, @leighsuggs transforms grids and repeated forms into shifting perceptual structures. Developed in close collaboration with Main Projects, Through Line extends this language into a suite of six distinct colorways, each composed of layered, laser-cut museum board hand-painted in closely related tonal hues.

Each work is housed in a custom-painted hardwood ash frame with a corresponding colored mat, conceived by the artist as a complete object.

——————

𝘛𝘩𝘳𝘰𝘶𝘨𝘩 𝘓𝘪𝘯𝘦, 2026
Acrylic on laser-cut museum board, framed in custom-painted hardwood ash
20 x 19 1/8 in (framed)
Edition of 5 plus 1 artist’s proof

-——————

This marks our second edition with Suggs following Apricity, a sold-out 2025 release created in collaboration with Suggs and @daniel_rickey_furniture .

Please inquire at info@mainprojects.co or via the link in our bio.

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