Pam Toll, Associate Professor of Art at UNC Wilmington, has opened a new exhibition, entitles “Landscape and Memory” at the Wilma W. Daniels Gallery at Cape Fear Community College.

Toll has been drawing and painting since childhood and this physical way of thinking has become a fundamental part of her work. In this exhibition, she pursues an energy around trees that comes from a lifetime spent among them. The exhibition runs from August 12 through October 4 and can be visited, free of charge, during gallery hours.

There will be an opening reception held on Friday, August 23, beginning at 6:00 p.m., at the Wilma W. Daniels Gallery, located at 200 Hanover St.. There will be a closing reception for the exhibition on September 27, beginning at 6:00 p.m., also held at the Gallery.

Randy McNamara lives in Hampstead, North Carolina, where he maintains a studio and teaches painting at the Leland Cultural Arts Center. Previously, he lived in Los Angeles California, exhibiting his work at Gallery 825 and various other venues in the region.

He has an M.F.A. from Indiana University in Bloomington, and a B.S. in Biology from the University of Kansas. While at KU, he discovered and named an isozyme of wild sunflowers and was also Outstanding Senior in Ceramics.

His background in biology has influenced his work primarily through the use of biomorphic forms and the notion that everything functions within an interconnected matrix of infinite elements in flux. A puzzle being assembled, disassembled and reassembled for eternity. His work employs acrylics and paper applied to canvas in a painterly manner with an interest in color, rich surfaces and the conundrum of the center.

The exhibition of McNamara’s work at the Wilma W. Daniels Gallery runs from June 24 through August 2, 2019, with receptions on both June 28 and July 26, at 6:00 p.m.

For more information about his work, visit the artist’s web site at

May 13 – June 14, 2019

Opening Reception on May 17 (6:00-7:30 p.m.)

Closing reception on May 24 (6:00-9:00 p.m.)

“I was a sculptor. I was a museum designer. I was a TV illustrator. I was a carpenter. I was a furniture designer. I was a product designer, a photographer, a painter,” Irwin said over the phone from his home in Beaufort. “It was like I was running up and down a smorgasbord going, ‘Oh, let me try some of this.’”

In Irwin’s summer exhibition, he pays homage to all of the artists and mentors who have influenced him throughout his life, leaving their mark on his work.

Nearly a decade ago, Irwin – not to be confused with the installation artist also named Robert Irwin – added another page to his lengthy resume: published author. Published in 2004, “40 Years” is Irwin’s autobiography, a no-holds-barred account of every aspect of his creative life, embellished with page after page of photographs of his dynamic paintings.

Cape Fear Community College is proud to present the 2019 Student Art Show, featuring some of our talented students and their incredible works of art.

The exhibition runs through May 3, and there will be a reception and awards ceremony on Friday, April 26, at 6:00 p.m.

Please join us to celebrate the fantastic work that our students have created!

LOCAL: art + ideas presents

Kelly Sheppard Murray’s Curiosities Series (2016-2019)

The largest showing to date of the more than 400 sculptures from this body of work. This is the Raleigh based artist’s first major solo exhibition.
Murray’s Curiosities Series is the cumulative output of the artist’s plan to produce one sculpture a day
for a year (December 2016-2017), in order to recast the temporal, practical, and material limitations of
her daily life into conditions of creative resolution and production. As the total number of sculptures
increased, the artist named each a Curiosity (with a sequential number), underlining the act of collecting
idiosyncratic and unusual objects. After completing 365 pieces (the artist tags each with its number),
Murray continued with the sculptures and, without the constraints of time, also expanded them to a
larger scale.
The array of colors, shapes, forms, and patterns present in the Curiosities echoes the daily theme and
variation of the actual making of each piece. Human interaction with nature remains an important
element in Murray’s work, and the sculptures balance biomorphic forms with industrial colors and
materials. At the start of the series, the artist used materials at hand: pieces of wood, bark, string, wire,
metal mesh, and encaustic. She eventually relied mostly on the wire and mesh, sometimes adding small
pedestals. The modest scale is consistent throughout the series, as Murray made each Curiosity by hand
and within a daily time period. Colors are nothing short of pronounced: bright, bold, booming. Even
when rendered in black or white, the sculptures have a resounding presence or, when they appear
monochromatic, layers of other colors peek through.
The Curiosities Series sustains no installation rules, and this fluidity is a nuanced counterpart to the
creative guidelines of the project. One may encounter the sculptures individually or in groups, and on
the wall, the floor or a pedestal. They may congregate by color, shape or scale, and in extended lines
or scattered groupings. To celebrate the ability for multiple stagings, the artist and curator (Beth
Handler Riebe) will reinstall the sculptures midway through the exhibit.
Murray shares the making of the Curiosities Series on Instagram, posting a picture of each sculpture
on the day of its completion. These posts act as a visual diary of and a dialogue about her process, with
the cumulative visual grid of Instagram merging into a record of the artist’s demarcation of each day
as a creative cell.
KELLY SHEPPARD MURRAY creates sculptures, paintings, and drawings that combine natural
and biomorphic forms, geometric shapes, and repetitive patterns. She is the recipient of the
International Encaustic Artists Emerging Artist Grant (2018); the Artspace (Raleigh) Emerging Artist
Residency (2016); and the Artist Project Grant, United Arts of Raleigh and Wake County (2012 and
2000). Recent solo exhibitions include: Second Nature at Holder Goods, Raleigh (2018) and a show at
Wake Technical Community College (2016). Recent group exhibitions from 2018 include: The Price
is Right, Tinney Concept, Nashville (Online); Dogwood Arts Regional Arts Exhibition, Knoxville; and
Raleigh Fine Arts Society’s NC Artists Exhibition. She is a native North Carolinian, with a BFA and
an MFA in sculpture from UNCG and ECU, respectively. Murray is Associate Professor of Studio Art
at Wake Technical Community College and maintains a studio at Artspace
LOCAL: art + ideas is a think tank based in Wilmington, NC, that supports art and ideas
flourishing beyond larger metropolitan areas and cultural networks. Beth Handler Riebe founded
LOCAL in 2013. Riebe worked in the NYC art world for twenty years, with curatorial stints at the
Museum of Modern Art, Whitney Museum of American Art, and Yale University Art Gallery. She
served as an art consultant to Donald B. Marron (one of ARTnews’ top 200 collectors). She is a former
Trustee at the Cameron Art Museum and occasionally teaches art history at UNCW. Riebe received a
BA from Oberlin College, and an MA and a PhD from Yale University, with all degrees in art history.

The Art of Nature Exhibit incorporates photographic tools and techniques developed in the early 1800s ranging to modern times, Victoria Paige, Guy Pushée, and Melissa Wilgis present three unique perspectives on nature photography. Since this nature photography exhibit is taking place just steps away from the Cape Fear River, a portion of the sales will be donated to Cape Fear River Watch.

The CFCC Studio Technicians Art Show will take place May 14-June 15 with a 4th Friday Reception May 25 from 6-9pm. Featured artists Ashly Farley, Christof Maupin, Heather Lee Mclelland, Kristen O’Neil and Melissa Wilgis, who assist and have assisted faculty and students of the Fine Arts Department at Cape Fear Community College, will be displaying their own artistic skills. Ashly Farley, Christof Maupin, and Kristen O’Neil are all current studio technicians at CFCC.

Ashly Farley is the Gallery technician at the Wilma Daniels Gallery and coordinator for the show. Ashly is a graduate of UNCG and uses ceramic, painting, collage, metal, found objects and other media in her work. Her most constant body of work is an organic language series that uses textures from nature to create a corporal alphabet.

Christof Maupin is the ceramics studio technician at CFCC and the owner of Clio Ancient Art and Antiquities. He draws upon his background in ancient art and art history to reinterpret images and ideas from the past in modern ceramics, printmaking and other media.

Kristen O’Neil is a technician at CFCC and Assistant Technical Director for the Studio Theater. Kristen assists faculty and students, as well as working within the Wilson Center. Her work includes theater department props such as faerie jars, period letters, and video editing. She also enjoys making furniture for her Bearded Dragon Kronos.

Heather Lee Mclelland and Melissa Wilgis are past technicians who have been invited to participate in the exhibit.

Heather is a North Carolina potter and member of the Coastal Carolina Clay Guild, her works consist of beautifully designed functioning contemporary ceramic wear. She is currently working on her Master’s at East Carolina University.

Melissa Wilgis is a photographer who uses a unique style called photogram. Melissa describes photograms as a “shadow-like photographic image that is made by placing objects between light-sensitive paper and a light source.” Her early photograms are made in a traditional darkroom.

The Wilma Daniels Gallery is proud of the amazing and talented work that has come from the student body this year. Below you can see our online gallery of the amazing work these students have created.

The Wilma Daniels gallery will be hosting a reception for the Photo Invitational exhibit. This exhibit is to showcase the different aspects of photography and to reinterpret what photography means.

The represented artist are:
Erin Arsenault – Randolph Community College
Jay Capers – Randolph Community College
Kevin Eams – Randolph Community College
Dhanraj Emanuel – Randolph Community College
Aspen Hochhalter – UNC-Charlotte
Rose Jerome – Winston- Salem State
Courtney Johnson- UNCW
Daniel Josip Kariko – East Carolina University
Larry Lean- University of Mount Olive
Jennifer Mace- Cape Fear Community College
Jeff Murphy and Heather Freeman – UNC-Charlotte
Leigh Ann Parrish- Western Carolina University
Richard Tichich – Western Carolina University
Charity Valentine – Pitt Community College
Angela Franks Wells- East Carolina University
Will Willner -Wake Forest University
Joe Young – Catawba Vally Community College
Scot Taylor – Carteret Community College
Ryan Adrick – Carteret Community College
Ann Kluttz – UNC-Charlotte


Dispersion is replaced by integration. “Either-or” must give way
to “and.” —Wassily Kandinsky
Like trying to describe a color with words, a painter reaches for
what is hard to make real.
Like color, a painting can seem to be more than one thing.
Kandinsky praised the capacity for “thought in two simultaneous
directions.” The way in which a painter wrestles with issues is hard
to pin down. There is no ever-reliable solution. A painting depends
not just on the painter, but also on the imagination and willingness
of the viewer.
Neither here nor there presents a collection of work that eludes,
disrupts, or transforms what seems familiar. The painters included
here engage distinctly with fundamental aspects of painting:
Stephanie Pierce, Gideon Bok, and Sam Bates make paintings that
shift time and place. Pierce paints time, intimate and incremental.
As light passes through a window, across a wall, she tracks its
movement, its warmth, refusing the easy, snapshot logic of a single
moment. Bates’ paintings begin with memories of specific places,
but as the work develops, the places widen. It is her intention that
viewers bring their own memories, experiences to the landscape.
Her earnest mark making transforms the specificity of place,
shifting the very ground beneath our feet. As Pierce and Bates are
to Nature, Bok is to human activity. Figures move about, play,
work or idle. Time passes and is compressed. Events unfold in a
single still image and the residual clutter fills the space.
Sam King’s paintings issue from a back-and-forth between
methodical routine and improvisational impulse. His color and
gesture simultaneously suggest and negate space, light, narrative,
engaging (and perhaps antagonizing) our instinct for recognition.
Murphy makes paintings that begin with a set of assumptions about
what a painting is. The process of working through these
assumptions leads to paintings that come up to the line of
sculpture, however, the world of color and illusionistic space seem
to deny or contradict the purely sculptural. Hellmann’s painting
sculptures similarly defy easy classification. Planes advance and
recede and slide and shift in ways that are both physical and
illusionistic. The result is a play between the fiction and the real.