Past Exhibitions 

In this series of oil paintings, Hill blends landscape and the figure utilizing a distinct, saturated color pallet which is carried through out her work.  Another commonality in this seemingly eclectic body of work is Hill’s heartfelt connection to the Southwestern environment where she has lived for the past 25 years.  Her concerns for the environment and women’s social issues are intertwined within the pieces.

Hill spent her youth and early adulthood living between Paris, France and Chicago, Illinois and later years in New York City.  While in France, she had the opportunity of being mentored by the renowned Abstract Expressionist, Joan Mitchell. This influence is apparent in her use of high key color. Hill says she “uses paint as a visual language to convey emotion rather than objects. “

She reflects on a quote by Andy Goldsworthy from A Collaboration with Nature to explain her unbridled approach in art making, “The one contradiction I won’t tolerate is having an art that binds me.”   

May 6 - June 10, 2017

Opening Reception  Saturday May 6, 2017

5 to 7 pm 

Composing Visions by Catherine Cerf Hill offers a glimpse into a versatile artist’s expression in painting. Hill has an unbridled approach to work and life. She moves fluidly between media sometimes creating sculpture, performance or film and at times incorporating subject matter that reflect the social and political climate.

Catherine Cerf Hill

Composing Visions

Oil on Canvas 

​​CURRENTS New Media New Mexico Trail June 17 &18 2016

Sixteen Artists; Installations, Outdoor Night Projections, Animation, Video Screenings and Evening Performance. 

Featured Artists and full schedule of events. 

M I C H A E L  K.  B I S B E E 

Paintings and Photographs 2008-2016

April 22- May 28, 2016 

Opening Reception Saturday May 7, 5pm-7pm 

Michael Bisbee's paintings are part of an ongoing series of abstract paintings begun in 2008 shortly after moving to the desert of the Southwest from the East Coast. The series has a working title “Trouble at Sea” and comes from contemplating the sensation that making abstract painting in a remote New Mexican village is like assembling a serviceable raft from the wreckage of a ship far out at sea. The format has been limited to 20 X 14 inches, or assembled units of that dimension with most employing a horizon line.

The photographs in this exhibit are frontal studies of assembled sculptural objects. The images, shot out of focus, provide a certain anonymity to the subjects which contradicts the basic promise of the camera as a device designed to render the world in authoritative detail. 
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