On view

On View April 4 - May 9, 2026

5 Main Street, Georgetown, CT

Charged Field brings together work by Nelleke Beltjens, Trudy Benson, John Cox, Lisa Corinne Davis, Mason Dowling, Julie Durkin Marty, Joseph Fucigna, Lisa Hoke, Jenny Kemp, Dan Makara,  Stephen Maine, Karen Margolis, Bob Marty, Holly Miller, Rob Nadeau, Andrew Schwartz, Alyse Rosner, Sarah Walker, Laura Watt, and Deborah Zlotsky. For these artists, how the work is made is never separate from what it means. Every material decision — a burn, a pour, a drag of the squeegee — is also a statement.

The practices gathered here are formally distinct and conceptually unified. Stephen Maine builds densely worked surfaces with carved foam and mesh stamps rather than brushes — paintings in which color is the primary structure, not the surface effect. Rob Nadeau layers acrylic, spray paint, and bleach into what he calls "scumbled and infected formalism" — work that treats near-constant revision as both method and subject. Lisa Hoke transforms felt, cards, and cardboard into spiraling, radiating forms that grant discarded packaging the authority of sculpture. Karen Margolis burns holes in Abaca paper, then stitches watercolor and map fragments into obsessively detailed surfaces where psychological states and cartographic systems share the same visual logic. Julie Durkin Marty pours pigment, seawater, and sand into layered fields drawn from ocean floors and storm systems — the ocean is not merely her subject but a material in the work. Lisa Corin Davis paints in the language of aerial maps before withdrawing the actual place, producing images that look like evidence without being any. Deborah Zlotsky builds intensely colored panels in which hard geometry and biomorphic form occupy the same space and refuse to resolve. Andrew Schwartz builds luminous sedimentary surfaces where color and light accumulate into something felt before it is fully seen. Sarah Walker's Anomalous Bodies series constructs densely layered panels in which shapes press against their boundaries, suggesting bodies or organisms without depicting them.

Throughout, intuitive impulse holds in productive tension with deliberate structure. Gestural passages meet measured geometries. Color carries emotional weight. The marks record decisions. These surfaces don't resolve — they stay open and they stay alive, dealing with things that resist words: the passage of time, the pressure of the present, what it actually feels like to be here now. Abstraction earns its place in this exhibition not because of its history but because of what it can still do.

These are not works that retreat from the world. They are a way of being inside it more precisely.

SPRING Highlights