On view

On View February 14 - March 28, 2026

5 Main Street, Georgetown, CT

Between the Lines, a group exhibition examining the threshold where text dissolves into image and language becomes material. The exhibition brings together thirteen artists working across painting, drawing, sculpture, and mixed media to investigate how meaning operates in the space between legibility and abstraction—where words transform into marks, and marks suggest unspoken language. 

The show features works by Fern Apfel, Joe Amrhein, Cat Balco, Libby Boyd, Dan Cameron, Vincent Dion, Madge Evers, Paul Gillis, John O'Connor, Sue Muskat, Bob Marty, Margaret Roleke, Rita Valley, and Sally Van Doren. 

The works resist simple interpretation, embracing ambiguity as a generative force. Cat Balco and Sue Muskat deploy line as a register of tension and uncertainty. Paul Gillis and Rita Valley merge text with gesture, creating compositions that oscillate between poetry and pure abstraction. Dan Cameron and Vincent Dion approach language with conversational immediacy, while Madge Evers and John O'Connor examine minimal structures and coded systems as vehicles for meaning. Joe Amrhein, Bob Marty, Margaret Roleke, Fern Apfel, and Sally Van Doren extend this inquiry, demonstrating how language can simultaneously clarify and obscure, reveal and conceal. 

Among the featured works, John O'Connor's The Paradox of Tolerance stages an endless loop of words, colors, and spatial relationships—a meditation on the fragility of conviction that performs the instability of certainty itself. Rita Valley's Cognitively There layers textiles to function as both archive and critique, weaving memory into material form. Vincent Dion's STEP ONE transforms paint into a dense perceptual field that demands sustained attention, rewarding close looking with subtle revelations. Dan Cameron's Mr. Fix-It assembles collage, drawing, and gesture into provisional structures—visual syntax for thoughts in progress—while Sally Van Doren's Nebula 1 evokes cosmic energy through mark and color, capturing the moment light emerges from darkness. Joe Amrhein's A Fallibility of Perception transforms writing into fragmented visual artifacts that function less as something to be read than as material evidence of language's capacity to replace presence with absence, turning abstraction back into tangible form. 

Between the Lines invites slow, deliberate looking. Here, ambiguity is not a problem to be solved but a condition to be engaged—a productive uncertainty. The exhibition proposes that meaning is made not in statements but in gaps: between word and image, statement and suggestion, form and content. It is in these intervals that understanding begins.

Winter Highlights