Terrault is pleased to announce the featured artists selected for the 3rd Annual Juried Exhibition! 

'Too Many Dinner Parties' features 12 artists from Baltimore and across the U.S. and opens to the public with a reception on Saturday, May 5th 7-10PM. 

Exhibition runs May 5- May 26th, 2018
Gallery Hours: Saturdays, 1-5PM (except for opening night)

Featured Artists:
Erick Antonio Benitez 
Brian Dunn
David Elliot
Morgan Rose Free
Curtis Miller
Heidi Nam
Alexis Novak
Danni O'Brien
Malcolm Peacock
Banjamin Terry
Sarah Tortora
David Ubias

Amy Boone-McCreesh
Amy Raehse
Melissa Webb

Erick Antonio Benitez 

Erick Antonio Benitez is a Salvadoran-American multidisciplinary artist, musician, organizer, and curator based in Baltimore, MD. Benitez's work primarily consists of installation, video, performance, sound, and painting. Using an array of mediums he engages concepts of identity, culture, mysticism, and the natural world. Using multimedia methods and traveling, as means of investigation, Benitez combines mediums to examine how all these topics intersect to one another. Much of his current work focuses on multi-nationality and identity, the human condition, and the current state of the natural environment. Benitez's work is a product decadent interactive process, in which he often travels to site-specific locations for references and research to inform his work and studio practice by collecting found objects, field recordings, moving image, and interacting with the public itself.

Erick Antonio Benitez (b.1988, Bronx, NY) is a Salvadoran-American multidisciplinary artist, sound alchemist, organizer and curator based in Baltimore, MD. He received his BFA from the Maryland Institute College of Art (MICA) and has exhibited work in DC, Maryland, New York, Colorado, Barcelona (ES) and Timisoara (RO). His work has been reviewed by the Washington Post, Baltimore City Paper, BmoreArt, What Weekly, and a few publications including the first issue of BmoreArt Journal + Ideas, Let’s Talk Live (WJLA), and Hyrsteria Zine Vol. 2. Benitez is also a recipient of the 2016 Ruby Artist Project Grant, The Contemporary: Grit Fund 2, Y.L. Hoi Memorial Award and has work included in permanent private collections around the DC, Maryland, and Virginia area. Benitez was recently nominated as 2018 Baker Artist Award Finalist, Sondheim Artscape Prize 2018 Finalist and was awarded a residency at the Studios at MASS MoCA.

Brian Dunn

The low-relief paintings on sheet metal in Brian Michael Dunn’s ‘Sheetz’ series mimic the forms and surfaces of everyday objects and tow a line between object and image, abstraction and naturalistic representation. Each relief is a one-to-one refiguring of an object that already contains some quality of ‘painting-ness’ (relative flatness, color, rectilinearity) and in each object’s reiteration as painting, functional construction is repurposed as significant pictorial content, taking on a new associative life.

Born in Milwaukee, WI in 1982, Dunn received a Bachelor of Fine Art in Painting from Boston University and a Masters of Fine Art from Cornell University. Dunn was awarded a Mid Atlantic Arts Council Fellowship to attend the Millay Residency, a Pollack-Krasner Fellowship to attend the Woodstock-Byrdcliffe Residency and the Ellen Stoeckel-Battel Fellowship to attend the Yale-Norfolk Summer Program. Dunn’s work has been exhibited in galleries including Nudashank (Baltimore), Automat (Philadelphia), Woskobb Family Gallery (PA) Fjord (Philadelphia), Creative Arts Workshop (New Haven) Gary Snyder Project Space (NYC), Fordham University Lipani Gallery (NYC), Hundred Forsyth (NYC), Public Address Gallery (NYC) and Ventana244 (NYC).

David Elliot

David Elliott (b. Kansas City, 1984) currently lives and works in San Francisco.

We all have the ability to challenge who we are, who we are now, and who we are capable of becoming. How far are we willing to push ourselves to realize our perceived potential? How do our failures define us? How much of our perceived worth is determined by our performance? How many times are we willing to lose before we give up?

Morgan Rose Free

Free’s practice is an attempt to satisfy an insatiable curiosity and a desire of want. As dreams serve to process and organize information gathered when awake, Free’s mixed media works are a reimagining of her consciousness and surroundings. Memories, moments, and emotions are retranslated into the physical. Everything stems from a personal narrative; a kind of self portrait. Her work oscillates between assemblage of preexisting objects and a thoroughly handmade aesthetic. These objects amass into new compositions, reformatting their separate contexts into alternative narrative structures. Free follows new curiosities and fascinations with materials she encounters, yet her unshakable affinity for the tactility of fiber allows textiles and embroidery to enter her work more often than not.

Morgan Rose Free (b. 1990) is a Canadian emerging artist predominantly working in sculpture and assemblage. She has exhibited in Western New York and across Canada including Calgary, Montreal and Toronto, with an upcoming exhibition at ACRE Projects in Chicago. She received her MFA in Sculpture/Dimensional Studies at Alfred University in 2017 and her BFA in Fiber from the Alberta College of Art and Design with honors in 2012. From 2012-2015 Free held the position of Visual Artist in Residence with the Calgary Board of Education, working within public schools throughout the city on various creative projects including semi-permanent outdoor installations, coordinating student exhibitions in public spaces, and panel discussions with other local professionals. She currently holds the position of Adjunct Professor of Sculpture and Freshman Foundations at Alfred University.

Curtis Miller

Miller’s paintings are as much built as they are painted. He thinks of them as stages that allow paint to exist in different contexts. The majority of his content/imagery is developed during the building of the ground using marble dust gesso tinted with dispersion pigment. Building a ground can take weeks to finish. The painting process is typically much faster. Sometimes the paint further supports/participates in the composition; Sometimes there are places designated simply for paint to be paint. Miller wants the viewer to be rewarded for their time spent looking at his work, and especially for moving closer. He wants his work to convey to the viewer the process of making itself, and perhaps suggest they, too, could participate.

Curtis Miller was born in Corsicana, Texas in 1979. Having spent his entire life in Texas, Curtis relocated from Austin to Baltimore in 2011 to attend Maryland Institute College of Art's Hoffberger School of Painting and graduated in 2013. He has exhibited his paintings throughout Texas at K Space Contemporary, Gaddis Geeslin Gallery, Joan Grona Gallery, The South Texas Art Museum, and the Art Center of Corpus Christi. In Baltimore, Curtis has exhibited his paintings at Terrault Gallery, City Arts, Maryland Art Place, John Fonda Gallery, Jordan Faye Contemporary, and Platform Gallery. He also exhibited his work at Marianne Boesky Gallery in NYC and is a previous Sondheim Prize semi-finalist. Curtis currently lives and works in Baltimore, MD with his wife, 5 year-old daughter, and 18 year-old dog.

Heidi Nam

Heidi Nam’s work explores the perception of the multi-faceted urban environments that we inhabit. She focuses on the organic process that cities undergo through time and space within the framework of infinite variations of grid systems. Through my current work, I demonstrate the morphological state of urban environments and visually reflect the semiotics of the city. Repetition, variation, and chance are the core principles that underlie Nam’s work. They resonate through her multimedia practice of painting, printmaking, and collage. Her paper collage work process starts with deconstructing raw materials such as painted paper, silkscreen and woodblock prints, and digitally produced images. She then constructs a new surface from those fragments through layer upon layer of weaving, tiling, and sanding. The result is an infinite variations of the urban patterns, as a collection of disparate fragments, transferred, transplanted and transformed into a newly integrated whole.

Born in 1961 in Seoul, Korea, Heidi Nam is a Philadelphia- based mixed media artist who draws inspiration from natural rock formations, grid patterns, and constant evolution of urbanity, Nam's collage and multimedia works explore the crossroad between the organic and the metropolitan. She has participated in both group and solo shows in major U.S. cities and received numerous national awards. She earned her BFA from California College of the Arts and her MFA from University of Pennsylvania.

Alexis Novak

Alexis Novak was born in Niagara Falls New York in 1990, and is currently based out of Baltimore Maryland. She received her BFA from Rowan University in 2012, and her MFA from MICA's Photographic and Electronic Media program in 2017. Working mainly in lens based media, Alexis creates images that draw upon and call attention to the absurdities of life, with a subtlety similar to a child frying ants with a magnifying glass in their front yard. They look like how eating sour candy tastes, if the sour candy also made you question your own reality. She explores concepts of femininity using surreal and beautifully grotesque imagery. Her work is like finding half a worm in an apple you found to be particularly juicy and delicious, if that apple also made you pregnant. Alexis channels the sublime and the divine, often borrowing color palates and imagery from biblical paintings. It is like light shining through a stained glass window of a very confusing church, if that light also started a fire that burns the church down. If you dig through the rubble you will find a pair of stiletto heels completely untouched by flames.

Danni O’Brien

Danni O’Brien (b.1992, Falls Church, VA) is a queer womyn maker currently residing in the Washington D.C. metro area. As a public art educator, she balances her passion for art advocacy and experimental art education with an active interdisciplinary studio practice. In her studio she synthesizes her interests in sculpture, fibers, and construction, in aim to present work that straddles binaries such as hard/soft, feminine/masculine, grotesque/beautiful, and perversion/innocence. Danni has recently attended artist residencies at Azule (Hot Springs, NC), Art Farm (Marquette, NE), and Proyecto Ace (Buenos Aires, Argentina). Her work has been shown at The Virginia Museum of Contemporary Art (Virginia Beach, VA), Woman Made Gallery (Chicago, IL) The University of Cincinnati (Ohio), and Little Berlin (Philadelphia, PA). Imagery of her sculptures are being published in the next issue of ArtMaze Mag out of London and have also been featured in Slag Mag and Hiss Mag. 

Danni’s work revolves around notions of nostalgia, play, and puberty. She marries wood working skills learned while working construction with traditionally feminized and domesticated systems such as stitching, beading, and rug making to compose dually hard and soft sculptures. By calling upon cheap, accessible, and hands-on materials from her childhood, her work is both about juvenility as well as takes on childlike, crafty qualities. Playing, collecting, compiling, and experimenting are imperative parts of her practice. She presents work ripe with texture and oozing sensuality, provoking viewer indulgence and sensory engagement.

Malcolm Peacock

Malcolm Peacock (b. 1994, Raleigh, NC) lives and works in New Brunswick, NJ. Taking different forms, his art centers and privileges Black lives. His own, his family's, his friends', and others'. While occupying and seeking different positions of vulnerability, he seeks to remain open to possibilities that may come from working with others. At the core of the work is a desire to take, shape, make, and claim spaces of all kinds for the breadth of Black lives. To further understand how we have been, how we are, and how we can be in the world as individuals and collectives.

Alongside his art and competitive running practices, Malcolm is passionate about service and access to the arts for individuals with disabilities. He is a 2016 Joan Mitchell Emerging Artist Grant nominee and has received fellowships from the Mason Gross School of the Arts, and the Skowhegan School of Painting and Sculpture.

Benjamin Terry

Benjamin Terry’s work stems from his interests in awkward shapes, lines, colors, interactions, surfaces, and gestures. He’s interested in the borders between painting and sculpture, art and function, perfect craft, and sloppy craft. His work uses loud, large marks, as well as quiet, subtle variations of color.

Ultimately, Terry says his work is about editing and displaying. It is a reflection of his environment; a constant study of how paintings, drawings, and objects interact, create and manipulate relationships, and engage viewers.

Benjamin Terry lives and works in Dallas, TX. He received an MFA in Drawing and Painting in 2013, from the University of North Texas. He has exhibited work in numerous solo and group shows in Aspen, Atlanta, Charleston, Dallas, and Houston. He most recently had a solo exhibition at Art League Houston, and is preparing for an exhibition at Guerrero-Projects (Houston) in 2018. Curatorial work has become an integral part of his practice with exhibitions curated at Kirk Hopper Fine Arts, Circuit12 Contemporary, and Texas Woman’s University in 2017 over the last year. He was featured in volume 96 and 132 of New American Paintings, and has received both the Clare Hart Degoyler and the Arch and Anne Giles Kimbrough awards from the Dallas Museum of Art. He currently teaches Drawing and Painting at the University of North Texas.

Sarah Tortora

The in-between. The rusted hinge. The gap in the sidewalk that swallows your shoe. The shedding of concrete from decaying plywood. The stutter between words. Faultlines. Crossroads. The sinew that connects these things, through uncanny geometry, at human scale and OSHA standard. The camouflage of no commitment, whose function is to publicly declare the camouflage sheathing everything else. The art object that plays well with others characterizes the dilemma of a proud impostor.

Tortora’s work mimes conventions of canonical sculpture, urban infrastructure, and museological display. These hand-constructed amalgams operate parallel to language, elude classification, and perpetually oscillate between relationality and mis-identification. These wall sculptures, equally pictorial as sculptural, resemble figurative busts or taxidermy mounts, characters of an alphabet, or pattern molds which divulge their own physical presence as well as the material environments which envelop them. Tortora’s work frequently incorporates the imagistic potential of sculpture, by acting on an innate bodily alignment with “fronts” and “backs.” These sculptures become sites for projection: as facsimiles of archetypal objects, impostors of icons, or signs that communicate the structure of their presentation.

Sarah Tortora (b.1988, New Haven, CT) is a visual artist currently working throughout the northeast. She received an MFA from the University of Pennsylvania in 2013, and served as a Lecturer of Contemporary Art at the Institute of Contemporary Art in Philadelphia while in attendance. In 2016, Sarah mounted solo exhibitions at GRIN (Providence, RI), Reynolds Fine Art (New Haven, CT), and CAS Arts Center (Livingston Manor, NY). Sarah has been an artist in residence at the Skowhegan School of Painting and Sculpture, the MacDowell Colony, Yaddo, and Ox-Bow School of Art, among others. She was the 2015-2016 Alice C. Cole '42 Fellow in Studio Art at Wellesley College, and currently is a yearlong artist-in-residence as the Visual Arts Coordinator at Vermont Studio Center in Johnson, Vermont.

David Ubias

David Ubias’ paintings embrace the constraints of modest materials. Colorful textured works comprised of paper pulp serve as a shrug to the frenzy of new media. He utilizes personal anecdotes, advertising gimmicks, and current events as catalysts for his studio activity.

His body of work explores enduring (common) technologies that teeter on the threshold of relevance. They question the feasibility of maintaining a constant state of comfort under a perceived threat of cataclysm.

David Ubias (b. 1982, Pasadena, TX) currently resides in Baltimore, MD. He received a BA in Studio Arts from the University of St. Thomas/Glassell School of Art and a MFA from Maryland Institute College of Art. His work has been featured in the Texas Biennial, New American Paintings, ICA Baltimore, Art Miami, The Lawndale Art Center, Vox Populi, Zona Maco, Texas Contemporary, and Urban Outfitters. He is also the recipient of a Henry Walters Traveling Fellowship and a MICA Graduate Fellowship.