Friday, May 17, 2019

SEAN SAMOHEYL : HUGS opening June 7th

Sean Samoheyl


ADA Gallery is pleased to present an exhibit of new paintings by artist, sculptor and furniture maker Sean Samoheyl. Samoheyl’s latest series, Hugs, will be on view from Friday, June 7 through June 29, 2019. 

Sean Samoheyl, 2019, Hug Inside

Sean Samoheyl (American, b. 1974) attended The Art Institute of Chicago before he decided to leave the city in order to pursue an art practice outside of the contemporary academic art world - a decision which was influenced in part by his conversations with artist Kerry James Marshall. In 2001, Samoheyl moved to the Twin Oaks Community, an ecovillage and intentional community focused on income sharing and non-violent egalitarianism, located in Louisa County, Virginia. Here, he acquired an extensive knowledge of folk art and crafts, including quilting, spinning, and fiber arts, as well as woodworking and furniture design. 

Sean Samoheyl, 2019, Pie Sniffer

Samoheyl’s work has previously been exhibited at Heaven Gallery (Chicago, IL), Front Room Gallery (Cleveland, OH), Cinders Gallery (Brooklyn, NY), Second Street Gallery and Nature Gallery (both Charlottesville, VA), as well as the Virginia Center for the Creative Arts. He has been featured as a furniture craftsman at the Richmond Folk Festival and was awarded a Virginia Folklife Fellowship as a master of traditional chair-building. In 2017, he received a Maker-Creator Fellowship from the Winterthur Museum, Garden and Library (Winterthur, DE). His upcoming show at ADA Gallery will be his fourth time showing at the gallery.

For more information, visit our website:

Hugs will be on view at ADA Gallery, April 5 - 27, 2019
228 West Broad Street
Richmond, Virginia 23220


Andrew Woolbright

Expresso Your Depresso

ADA Gallery is proud to present new works by painter Andrew Paul Woolbright in his upcoming show, Expresso Your Depresso, which will open on Friday, June 7, and will remain on view until June 29, 2019. 

Andrew Woolbright, The Great Shrinebeast Furschlugginment (My Worries Going Super Saiyan (After Blake)). 160in. X 104in. Oil on cut canvas, plaster, acrylic paint, wire, epoxy, Monster Energy Drink cans, Masonite. 2018-2019

Andrew Woolbright (American, b. 1986) attended the School of the Art Institute in Chicago, Illinois and later completed his MFA in Painting from the Rhode Island School of Design, where he was also an Honorary Fellowship recipient. Woolbright’s recent solo and two-person exhibitions include Where The Tweets Turn Into Pearls at Yellow Peril Gallery (Providence, RI), Love Amongst The Amaranth at the University of Illinois (Springfield, IL), The Biome of Heliogabulus: Second Chapter in The Shrinebeast Cycle at InSitu Works (Monterrey, Mexico), and New Figurative Artists at Lequire Gallery (Nashville, TN). His extensive participation in group exhibitions includes Euphoric Flex at Baby Blue Gallery (Chicago, IL), We Gather Here Today at Dread Lounge (Los Angeles, CA), Menager/ie at SRO Gallery and Super Dutchess Gallery (both New York, NY), and Analog Ram: The Return of Active Memory at The Research House for Asian Art (Chicago, IL). His work has been included in such publications as The Boston Globe, Bushwick Daily, The Providence Journal, The Chicago Reader, and American Art Collector. He held an artist’s residency at Wassaic Project in 2018 and has spoken as a panel lecturer at SUNY New Paltz (New Paltz, NY) and the University of Northern Iowa (Cedar Falls, IA). 

Andrew Woolbright, Shrinebeast. 80 in. x 88in. Oil on cut canvas, plaster frame, epoxy. 2017-2019

Woolbright now lives and works in Wappingers Falls, NY. He is currently the director of Super Dutchess, a contemporary art gallery located on the Lower East Side in New York City. In 2020, he will be the curator of a survey show of Kathy Goodell’s work to be held at the Dorsky Museum (New Paltz, NY) and will be included in an international group exhibition at Coherent Gallery in Brussels, Belgium.

For more information, visit our website:

Expresso Your Depresso will be on view at ADA Gallery, April 5 - 27, 2019
228 West Broad Street
Richmond, Virginia 23220


Taylor White

Hillbilly Antimatter
May 2019

Taylor White, Fake Zoo (Fake), 2019, Acrylic, charcoal, airbrush, marker, and sewing on canvas, 85h x 69w x 1 1/2d in

ADA Gallery is pleased to present an exhibition of new works by artist Taylor A. White, on view now until June 1st, 2019.

Taylor White, Folklore, Mathmatics, 2019, Acrylic, charcoal, marker, pencil, colored pencil, paper, and sewing on canvas, 66h x 96w x 1 1/2d inches

Taylor White is having a laugh, and his latest show, Hillbilly Antimatter, offers an open-call invitation to join in on the fun. 
White’s multi-media, large-scale abstractions make visible his penchant for humor, chaos, and spontaneity. His images are perfectly, or precariously, perched on the line between completely serious and joyfully absurd. White is attracted to images that confuse; he aims to deliberately confound and surprise the viewer, while simultaneously fulfilling what he describes as his primary objective in art-making: to make something that he, personally, has not seen before. He intentionally skirts all conventions of narrative and communicates instead through a visual language that is at once a foreign tongue and a comfortingly familiar, if not nostalgic vernacular. 

Taylor White, Grape (Grape), 2019, Acrylic, charcoal, spray paint, airbrush, marker, pen, paper, stuffing, and sewing on canvas 68h x 60w x 1 1/2d in

White’s work pulses with his distinctive impulsivity, the artist’s stream of consciousness splayed across the canvas. Strips and scraps of fabric- stitched together with unmistakeable skill while appearing to be haphazardly assembled- are joined by charcoal, acrylics, plastics, oil paints and googly eyes, among other diverse materials, to form images that are exceptionally novel and almost impossibly harmonious. White works in a principled manner of anti-structure that is slyly subverted, or otherwise amplified, by neatly doodled details and flashes of pure pigment; his paintings are deliberate and purposefully disagreeable while his process is kinetic and wild, which is to say that there is, in fact, both a method to his madness and a madness to his method. If White’s work reads at times like a private joke, it is one from which the viewer is never left out. Instead, Hillbilly Antimatter invites its audience inside the artist’s childhood freezer, “filled with popsicles and secret passageways.”

Taylor White, It's Like You Don't Even Care About Vitamins, 2019, Acrylic, charcoal, spray paint, oil stick, airbrush, pencil, paper, and sewing on canvas 84h x 68w x 1 1/2d in

White, who refers to himself an as “eternal optimist,” makes a game out of art-making, challenging himself to paint in the dark or to create new works from leftover fragments of canvas salvaged from his studio floor.

“My primary objective in making art is simply to make something that I haven’t personally seen before. To work with an object until is sort of surprises me. To wrestle with something until I win, or until I lose, and to challenge myself to have the confidence to show work that I regard as total failure.”

For more information, visit our website:

Hillbilly Antimatter will be on view at ADA Gallery, April 5 - 27, 2019
228 West Broad Street
Richmond, Virginia 23220

Wednesday, March 27, 2019



Cameron Spratley, The trunk is full the ass is low, collage on paper, 44x30 inches, 2019

Cameron Spratley’s upcoming show, Angel Dust, opens at ADA Gallery on Friday, April 5th (7-9pm).

In his new exhibition of works, Spratley draws from the aesthetics of black culture and references the myriad dangers facing young black men in America. Spratley confronts, and deliberately problematizes, the interpretative gaze, putting the viewer who is unfamiliar with his images into the space of the Other.

Spratley’s new works are dense, immediately gripping, and characteristically layered. Anger and alienation saturate his canvases, whether in the form of abstract rays from a model’s eyes or, more viscerally, the barrels of guns pointed straight at you.

Cameron Spratley, Hope of Deliverance, collage on paper, 30x24 inches, 2018

After graduating from Virginia Commonwealth University with a BFA in Painting in 2016, Spratley attended the Mason Gross School of Art at Rutgers University. His work has been featured in Bunk Notes at Pilot Projects in Philadelphia, Microcosmos: The Politics of the Inner Self at Royco Contemporary at The Shed in Beacon, NY, and in ADA Gallery’s 15 YRS! Everybody In The Pool! Solo exhibitions include Face Stay Numb Like a Terrible Acci
dent at the Pennsylvania Academy of the Fine Arts Museum in Philadelphia, GHOSTBLOOD at Valet Gallery in Richmond. He has given lectures as a visiting artist at the PAFA Museum and School of Art in Philadelphia and has received both a Teaching Fellowship from Rutgers in 2017 and the Ellen Battell Stoeckel Fellowship from Yale University in 2015. 

For more information, visit our website:

Angel Dust will be on view at ADA Gallery, April 5 - 27, 2019
228 West Broad Street
Richmond, Virginia 23220

Nick Fagan: Existential Marks at ADA Gallery (April, 2019)


opens April 5, 2019 (7-9pm) at ADA Gallery


Nick Fagan, Rabbit Enters Void, oil paint, royal blue flock on 100 yr-old stadium floorboards, 53x48x2 inches, 2019

Nick Fagan’s upcoming show, Existential Marks, will be his second solo show presented by ADA Gallery. The new exhibition of works from the Richmond-based painter and sculptor will open on April 5th (7-9pm).

In Existential Marks, Fagan’s latest works take form on an assortment of salvaged wood, including 100 year old floorboards from a since-demolished Richmond stadium, upon which hundreds of thousands of footprints have been recorded, to explore the ways in which he himself leaves his mark, and the significance- if not the futility- of art-making as a means to do so. While Fagan grapples with particularly solemn questions concerning self-identity, existentialism, spirituality, and the relation of the individual to the collective, he articulates these themes, almost joyfully, through comic icons and vibrant imagery which join together the existential and the material.

His use of floorboards invokes a distinctive sense of looking down, and his forms, cradled between abstraction and literality, are often papered with fragments of photographs and sketches, some of which appear as if they’ve simply landed there, fallen from above. Elsewhere, Fagan opts for crisp, white brush strokes that seem to be part of a larger image, extending into the negative space beyond.

Nick Fagan, Rabbit Enters Void, oil paint, royal blue flock on 100 yr-old stadium floorboards, 53x48x2 inches, 2019

Nick Fagan: Existential Marks will be on view from Friday, April 5 (7-9pm) through April 27
at ADA Gallery
228 West Broad Street, Richmond, Virginia 23220

For more information, visit our website


Friday, February 22, 2019

BRIAN HUBBLE: Odes and Offerings at ADA Gallery, February 2019

Brian Hubble: Odes and Offerings

Brian Hubble is an illustrator and painter, born in Virginia in 1978. He earned his BFA from Virginia Commonwealth University, attended Illustration Academy, and completed his MFA from The School of the Art Institute of Chicago, where he was a William R. French Fellowship recipient. Hubble’s most recent solo and two-person exhibitions include Whatever is Known is Magnified at Fresh Window (Brooklyn, NY), Lead Ham at Fastnet Gallery (Brooklyn, NY), and Monogram at Less is More Projects (Paris, FR). His expansive group exhibitions include Artists Need to Create on the Same Scale at Mana Contemporary (Jersey City, NJ), 15 YRS! EVERYONE IN THE POOL at ADA Gallery (Richmond, VA), and Cut Outs at Usable Space (Milwaukee, WI).

Hubble is currently based in Brooklyn, New York. He is the co-director of Unisex Salon, an artist-run and multidisciplinary platform for representation, located in Williamsburg, Brooklyn. He has spent the last 12 years studying the life and work of Andy Kaufman.

Odes and Offerings is on view now at ADA Gallery, through March 2019.

VISIT US at 228 West Broad Street, Richmond VA


INSTAGRAM: @the_ada_gallery


JARED CLARK: New Work @ ADA Gallery 2019

Jared Clark, a Utah native who received his MFA from VCU in 2007, returns to Richmond with his latest ADA exhibit, aptly titled New Work. Through his latest “kitschbilds,” assemblages of thrift-store and other found objects together with colorful resin, Clark carries on his lifelong obsession with rummage-sale detritus and continues to blur the line between painting and sculpture. In addition to providing the canvas for his arresting palette, the kitschbilds showcase Clark’s talent for diving headfirst into chaos, creating still more chaos, then bringing order out of it. Be they dense collections of kitschy sculptures or elegant, monochrome pieces of resin, Clark’s bilds suggest the infinite ways in which everyday objects can be reconfigured, re-contextualized, and reimagined.

New Work includes new pigmented resin pieces, the mold for which are former food containers. With these, Clark finds the ordered elegance in a humdrum shape, bestowing it with the sleekness of an LCD screen and the enticing translucence of a Jolly Rancher. Please do not lick the art.

Clark has received fellowships from the Utah Arts Council, the Virginia Museum of Fine Arts, the Dedalus Foundation, and the Vermont Studio Center, and has participated in residencies at the Vermont Studio Center, Art Omi, and Berlin’s Kompact Living Space. His solo exhibitions have shown at the Utah Museum of Contemporary Art, the Virginia Museum of Contemporary Art, the Volta Art Fair, Denise Bibro Gallery, and has shown many times at ADA Gallery since 2006.

VISIT US AT: 228 West Broad Street, Richmond VA


INSTAGRAM @the_ada_gallery

Tuesday, February 12, 2019


“Year XX10, the final year of the Christian era. Twenty years after People of Color gave up on wypipo and left the planet to explore the cosmos, the enigmatic genetic disease revitiligo expresses itself amongst every yt on earth, imperiling whiteness. With no known cure, the remaining terrestrial nations of North America face unprecedented national turmoil as wypipo begin to develop dark skin pigmentation. President Maura Gardener of the Coastal Union of Civic States and President Ronald Tiller of the Confederate Disaffiliation of States concurrently declare a state of emergency for the countries they lead. A combined forces military operation between the Confederate Disaffiliation of States and the Coastal Union of Civic States is launched to search for Aryanness in Other Places. Scouts from both the CD of S and the CU of CS conduct a joint expedition in the polar ice caps of Monument Valley, where reports of monstrous people being sighted in the savage south have emerged...”

Sedrick Chisom was born in Philadelphia and received a full scholarship to study at Cooper Union. Fascinated with thermal imagery and preoccupied by Christian iconography, Chisom conjures images that are both warm and chilling, akin to a pietà surveilled by a U.S. Army drone. Much of his work examines the ways in which Whiteness and Christianity have colonized the lives and sublimated the suffering of People of Color.  

As its title indicates, “The Ghost of White Presidents Yet to Come” continues these themes. In these paintings, Chisom composes a sci-fi epic in which PoC have abandoned a dying Earth to explore the universe. As some of the remaining “wypipo” begin to develop darker pigmentation, their governments declare a state of emergency and send an expedition to the polar ice caps and Monument Valley in search of “Aryanness in other places.” Chisom’s ghostly figures float through a world of melting ice and societal decay that viewers may find hauntingly familiar. If the spectral landscapes and desperate faces – or postures, where there are no faces – don’t make it clear enough, Chisom has noted that these scenes are from “the final year of the Christian era.” It’s the end of the world, or at least the end of the world as “yts” know it. 

While at Cooper Union, Chisom received the Jacques and Natasha Gelman Foundation Award for Exceptional Ability. After completing his BFA, he received his MFA from the Mason Gross School of the Arts at Rutgers University. His work has been displayed at numerous group shows, including at JTT Gallery, Signal Gallery, and Abrons Art Center. He has been featured in New American Painters (Issue 134), Forbes Magazine, Artnet, and Artsy.  

all images are copyrighted 2019 by Sedrick Chisom



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Thursday, November 08, 2018

November 2018 : Patrick Thorne, CeCe Cole

November at ADA Gallery:

Patrick Thorne: Dumb Company

 140 plus mixed media works on paper from 2017 and 2018

CeCe Cole: Projection Studies

Collectively Cole's installation titled Projection Studies is a contemplative exploration of light, shadow, form and function. The title refers to the presentation of an image and the art school terminology for problem solving and compositional planning. Conceptually the artist envisions future situations with models and adaptable installations.

Check them out and find more info at ADA Gallery.

228 West Broad Street
Richmond Virginia

#richmond #rva #installation #firstfriday #adagallery 

Wednesday, September 26, 2018


Upcoming Exhibition:


Opening Friday, October 5th, and on view through Saturday, October 27th, 2018.

Shannon Wright's solo exhibition Moonshot will also continue through October.

Shannon Wright, Moonshot, 25h x 19w x 8d inches,
acrylic, aluminum, aluminum hardware, 2017

Check them out and find more info at ADA Gallery.

228 West Broad Street
Richmond Virginia

#richmond #rva #groupshow #firstfriday #adagallery