Though touted as abstractions, these drawings and paintings--closely related to his Small Worlds body of work--read as dream-like realities that are theoretically possible within the context of the artist's natural laws pertaining to paint and its form, line, shade, and rhythm. Instead of approaching a subject such as a tree or a human form from just one point of view, each subject is approached from a few different perspectives. Building layer upon layer, a consistently handled overall character emerges, while clarity of subject fades. The pieces skillfully transition from the use of delicate, playful lines that define the faint, high swaying branches in tall pines, to aggressively manipulated ink and charcoal that builds formidable, yet reductive relationships between the primary characters in a work with the less obvious network of supporting marks and rubbings. Those parts that first catch one's eye are made important by the chorus of elegantly dancing secondary marks that grow like underbrush in and around the highlighted elements.

September 9- October 28, 2016

Fishing For Angels

Sarah Albritton is a self-taught Ruston painter, who is also known for her brilliant cooking, entrepreneurial endeavors, and service as a layman pastor to the community. Sarah's work in Fishing for Angels explores her the time she spent as a youth in the late 1930s and early 1940s. Her work points to the harsh conditions she experienced as a child, moving from house to house in the poor Black neighborhoods of Lincoln Parish. Sarah's strength, resilience and ingenuity is depicted in the work through her creative use for ordinary items, as depicted in the angel on display and a work made on a window screen. Although never having met Clementine Hunter, her works have a similar effect to that of Hunter's work. Historically important, this is one of the only shows she has had in Ruston, LA. 

June 20- August 5, 2016


Emily Ezell seeks to emphasize the spontaneous choices that are made between the initial concepts of a pose to the final rendering. The ultimate goal of her work is to maintain the structural accuracy of initial sketch lines while fleshing out the psychology of the final rendering. Her figures are mostly passive, but through a vivid use of hyper-realistic color they compel the viewer to look deeper.

This body of work is gathered from her last 9 years spent in Ruston. She embraces both oil paint and chalk pastel as media that let her indulge a love for vibrant color and dynamic mark making.

March 31- April 29, 2016



A beautiful line strikes a chord within me as do the contrast of colors and harmonious arrangement of forms within an image. The power of a line in my sculptures is enhanced by stripping away superfluous detail. I grew up in western Oregon, in a soft landscape, dominated by dense vegetation. The Great Basin landscapes, filled with harder edges and sparse vegetation contrasted sharply to that of Oregon. The beauty of these landscapes drives me to make sculptures that strip a mental image to its essence. Color is used to contrast the features of line and form. 

I began the meander series of sculptures after discovering the similarity between the lines of rivers seen in aerial photos of Louisiana and the Southwest. High altitude satellite images emphasize features by reducing detail, revealing beautiful lines made by rivers meandering.  -Robert Fogel, 2016


February 26 -March 21, 2016