Spellerberg Projects

Gallery hours
Saturday, April 13, 11am-3pm
Saturday, April 20, 11am-3pm
Saturday, April 27, 11am-3pm
Friday, May 3, 6–9pm – Artist’s Reception
Saturday, May 4, 11am-3pm – Last Look


Artist’s Statement

In Soul Sequencing: Unveiling Ancestral Topography, Narong Tintamusik reimagines medical documentation through etched and painted wood panels, capturing human health’s physiological and spiritual dimensions. Inspired by Cameroonian theorist Achille Mbembe’s insights into necropolitics and Victorian physicist Oliver Lodge’s empirical pursuit of the “soul,” Tintamusik’s work delves into the survival of the spirit within the context of mortality, cultural preservation, and the inherent will to endure.

The exploitation of the body and mind for labor while neglecting essential resources is prevalent in today’s societies. This stark reality breeds inequality across sectors like nutrition, healthcare, and education, creating a populace akin to the living dead. Through an exploration of symbols from Thai heritage, Tintamusik’s paintings serve as resistance against these societal constraints, affirming the sovereignty of the body. Despite adversity, the artworks illuminate the resilience and sanctity inherent in each individual’s internal landscape, challenging prevailing narratives of detachment with compassion and radiance.

About the Artist

Narong Tintamusik (ณรงค์ ตินตมุสิก) is an artist and curator based in Dallas, TX. His work is autobiographical, mining elements from his 2nd-Generation Thai-American upbringing, Queer identity, Buddhist spirituality, and previous career in the biological sciences. Through painting and its iterations, he finds alternative survival modes as a form of resistance against the current biopolitics of society.

Born in Dallas, TX, he lived in Bangkok, Thailand, for ten years. In 2014, he obtained his undergraduate biology degree from the University of Texas at Dallas with a minor in visual arts. He is currently pursuing a Master of Fine Arts degree in Painting and Drawing from the University of North Texas. Before entering graduate school, he worked in the environmental science industry for seven years.

He has exhibited in group shows locally in Dallas, TX, and beyond, including Chicago, New York, Canada, and Germany. Solo exhibitions include Daisha Board Gallery (Dallas, TX), 500X (Dallas, TX), Plush Gallery (Dallas, TX), Tarleton State University (Stephenville, TX), and Angelina College (Lufkin, TX). He is the recipient of the DeGoyler Memorial Fund (Dallas Museum of Art 2015), Art Walk West Microgrant (West Dallas Chamber of Commerce 2021), and the Puffin Foundation Grant (Puffin Foundation 2022). He was a part of the artist-run gallery 500X from 2019-2022.

Gallery hours
Saturday, March 9, 11am-3pm
Saturday, March 16, 11am-3pm
Saturday, March 23, 11am-3pm
Saturday, March 30, 11am-3pm
Friday, April 5, 6–9pm – First Friday
Saturday, April 6, 11am-9pm
Sunday, April 7, 12-6pm

Artist’s Reception
Saturday, April 6, 6–9pm


Artist’s Statement

The domestic images I’m attracted to contain evidence of extreme care and energy put into an environment. Care of the domestic space has historically been designated as women’s work and the labor and aesthetics of decorating a home undervalued. I relate to the inherent attention to detail in the arrangement of a shadowbox tableaux or the pyramid of lace-trimmed pillows atop a made bed and wonder if they are a method to cache feelings, an expression of personal history, or a compulsion to comfort and protect. Care and consideration manifest as ruffles. What do the objects we fill our homes with have to do with survival? Why do obsolete tools become decor? Each absurd idiosyncratic, aesthetic decision becomes a presentation of self-value.

Though my sculptures are not explicitly household objects they reference textiles, furniture and frosted, edible surfaces, placing them in the domestic realm as possible tools, devices and nicknacks.

About the Artist

Jennifer Moore is an artist living and working in Lockhart, Texas. Before starting an art practice, she toured as a musician across North America, Europe and Australia, playing anywhere from traditional venues, community art spaces, generator shows underneath freeway overpasses, and museums like the Fort Worth Modern and Whitney Museum of American Art. During this extended time spent away from home she discovered the generosity and ingenuity of people trying to make art and music within a variety of ecosystems and was inspired by the DIY culture which influenced the development of venues, homes, handmade instruments, and playing styles. Her preferred materials are household objects, thrifted textiles, broken electronics and papier-mâché which she applies to her work centering around themes of body and home.

Jennifer has shown her work at ICOSA(Austin, TX), Spellerberg Projects(Lockhart, TX), Collection RERT(Austin, TX), and Wege Center for the Arts(Fairfield, IA). She received a BFA from Texas State University in 2018 and an MFA from Maharishi International University in 2024.

Gallery hours
Saturday, February 10, 11am-3pm
Saturday, February 17, 11am-3pm
Saturday, February 24, 11am-3pm
Friday, March 1, 6–9pm – Artist’s Reception
Saturday, March 2, 11am-3pm – Last Look


Artist’s Statement

I work between sculpture and painting, using various materials to navigate the play of an interior landscape with a language of form.

Conditions of working – space, tools, materials, and a visual vocabulary – fluctuate to become an extension of who I am at the moment. Discovery comes at different rates and with uneven timing. Associations arise and squirm, hinting at meaning – contradictions wrestle with one another. These conditions dictate a cycle of expansion and contraction that is, in itself, an interactive relationship of knowing and not knowing.

I think of these events as driven by the process of drawing. I find myself pulled into a process of looking and not looking, which could be correlated with covering and revealing, destroying and creating – things come apart and cohere at the same time. Largeness is compressed into small spaces.

Out of that situation emerges new events and possible narratives that help me grow.  It’s a good reason to continue.

Jim Shrosbree, Jan 2024

About the Artist

Jim Shrosbree’s work has been exhibited widely in North America. Public collections with his work include the Detroit Institute of Art, Los Angeles County Museum, Edythe and Ely Broad Museum, Des Moines Art Center, University of Iowa Museum of Art, Mint Museum, and Daum Museum ofContemporary Art.

Shrosbree has been a visiting artist at numerous universities and art institutions including Cranbrook Academy of Art, NYU, UC-Davis, Bard College, University of Washington, University of Minnesota, Penn State University, Alberta University of the Arts, Drake University and the University of Iowa.

He has received residency fellowships from Yaddo, MacDowell and Watershed Center for Ceramic Arts. Residencies also include time as a scholar at the American Academy in Rome. Awards include a John Simon Guggenheim Fellowship, Pollock-Krasner Foundation grant, the National Endowment for the Arts(Midwest Fellowship) among others.

Jim Shrosbree received an MFA in Ceramics from the University of Montana, Missoula. He is Professor of Art at Maharishi International University, Fairfield, Iowa where he lives and works.

Gallery hours
Saturday, January 13, 11am-3pm
Saturday, January 20, 11am-3pm
Saturday, January 27, 11am-3pm
Friday, February 2, 6–9pm – Artist’s Reception
Saturday, February 3, 11am-3pm – Last Look


Artist’s Statement

I create multi-dimensional drawings of the almost and the not-yet-made. Emphasizing mark-making and process, I make paintings, installations, and sculptures inspired by piles of rubble and construction debris. My works re-imagine their often invisible subjects as icons and objects of potential. Paused between destruction and resurrection, they have a wholeness that cannot exist in a realized state. Blending the figurative with the abstract, my drawings contrast believable and impossible renderings of space and depth. Often visually or physically ephemeral, they visually break down, expand and rebuild their surfaces, subjects, and sites. By dissolving the boundary between the made and unmade, my works create accessible and tangible bridges between the real and imagined. Working with abstraction and obscuration, my drawings are depictions of simultaneously dissolving and reforming marks, colors, and spaces. They are invitations to navigate the unknown (and unknowable) as immersive spaces of possibility.

Curator’s Statement

Daydream is an exhibition of interdisciplinary drawings about the almost and not-yet made. It is a site-specific and multi-dimensional installation created for Spellerberg Projects. The exhibition combines vibrant sculptural forms and plaster casts with small, layered drawings on paper. Highlighting the reflections and distance created by the gallery’s encompassing windows, clearly visible three-dimensional elements are interspersed with soft two-dimensional works that embrace the intimacy of the space. Drawn in grayscale to emphasize breath and distance, the drawings on paper are obscured and almost invisible. Visually and physically ephemeral, the exhibition explores how to make the impossible more real. Daydream is an invitation to navigate the unknown and unknowable as immersive spaces of possibility.

About the Artist

Sarah DePetris is a Dallas-based artist whose practice integrates painting, installation, and sculpture. She makes multi-dimensional drawings that capture the energy and potential of the almost and the not-yet-made. Abstracting imagery of found piles of rubble and construction debris, her works are bridges between the real and imagined. DePetris presents her work nationally and is excited to be exhibiting with Spellerberg Projects in Lockhart, Texas. She has had numerous recent solo exhibitions, and was honored to receive a Foundation for Contemporary Arts Emergency Grant in support of her summer ’23 exhibition at Box 13 ArtSpace. DePetris recently created a large public art installation for Art Tooth’s ArtSouth Box at SOMA while participating in their studio residency at Muse in Fort Worths. DePetris received an MFA from the College of Visual Arts and Design (’23) and her BFA from the Maryland Institute College of Art (’09).  Her works are included in the permanent collections of Capital One and the University of Texas at Tyler.

Gallery hours
Saturday, December 9, 11am-3pm
Saturday, December 16, 11am-3pm
Saturday, December 23, 11am-3pm
Saturday, December 30, 11am-3pm
Friday, January 5, 6–9pm – Artist’s Reception
Saturday, January 6, 11am-3pm – Last Look


Artist’s Statement

Detroit Cousin Randy (DCR) is a selection of images from Enoch Rios’ on going collection of hundreds of found photographs. The term found photography can be used as a synonym for found photos: photographs, usually anonymous, that were not originally intended as art but have been reappropriated and given renewed aesthetic meaning.

DCR consists of non-artist informed found photographs obtained from various community resources. They illustrate a curated, photographic vernacular that saturates snapshots in shoeboxes, cellphones, and family photo albums. DCR brings forth themes of nostalgia, wonder, humor, and earnestness. They are a type of visual anthropology that explores the mundane, discarded, and uncovered moments of other people to challenge the notion of authorship, quality, and originality in photography and image making.

About the Artist

Enoch Rios was born in Corpus Christi, TX and received his BFA in photography from Texas State University in 2015. He lives and works in San Marcos, TX waiting for nothing to happen. His work comes from a process of observing situations that seem out of place or unusually incongruent within a pattern of common occurrences. His photography reframes a larger picture of the mundane to highlight areas that feel dreamlike, bazaar and transitory. Sometimes the images appear idiosyncratic and quirky, at other times they seem to become a container for loss and hope.

Gallery hours
Saturday, November 11, 11am-3pm
Saturday, November 18, 11am-3pm
Saturday, November 25, 11am-3pm
Friday, December 1, 6–9pm – Artist’s Reception
Saturday, December 2, 11am-3pm – Last Look


Artist’s Statement

“With veins rolling roughly over quick hands, they have many clean words to say.

My grandmothers were strong. Why am I not as they?”

– Margaret Walker “Lineage”, 1942

Exploring significant instances of black and African American history, culture, and experiences within the United States, Theresa Newsome examines how these events and historical narratives have had long-lasting effects on her own culture and identity, both from a personal and universal perspective. Throughout history, black women and their bodies have been experimented upon, stereotyped, judged, and discriminated against. Her photographic works, What my Mother Told Me, What my Grandmother Refused to Say, Sims, Objects, and her most recent series Peace I Leave with You, My Peace I Give You and Teaching Myself Manners investigates her own journey through womanhood; referencing instances from childhood, historical perspectives of femininity, and concepts of home. Newsome’s work incorporates traditional and interdisciplinary artistic practices including textile, historical photographic processes, solvent transfers, and bookmaking.

This photographic project is a documentation of my grandmother, Doris Arnita’s homecoming trip which took place in the summer of 2022. Throughout that summer we were able to visit her former stomping grounds, reconnecting with her friends, former church members, her last living sister, and finding her mother’s grave.  This was a place where my grandmother grew up, my mother spent her formative years, and where I as a child would spend every summer while visiting my grandparents. Colonial Heights and Petersburg, Virginia are both deeply historical locations, steeped with memory both positive and negative. It was a unique experience being able to revisit these locations with my grandmother after over 15 years away, seeing how the town’s landscapes have changed. Coming back to my grandparent’s house where I had once spent so many summers and holidays, now painted and fenced in with a new family. Spending hours with my aunt and grandmother trying to find my great grandmother’s grave in a sea of unkept, unmarked headstones so she could finally lay her flowers. Witnessing my grandmother revert back to girlhood after holding her sister’s hand.

Each image throughout this series is intended to be viewed as a homage to these moments, bringing recollection to the memories that I and the matriarchal members of my family have shared over several generations within this small community.

About the Artist

Theresa Newsome is a fine art photographer who explores the intricate yet delicate relationship between identity, femininity, and race within her creative practice. Drawing inspiration from her own personal experiences and observations, Newsome creates images utilizing a variety of photographic techniques including digital, historical, and alternative image-making. Through her work, she is interested in shedding light onto the nuances of the black female experience, referencing historical events, familial oral narratives, and contemporary experiences.

Theresa graduated from Texas Woman’s University where she received her MFA in Photography and Art History in 2019. She graduated from the University of the Incarnate Word with a BFA in Studio Art and minor in Psychology, with a concentration in drawing in 2015. She currently resides in San Antonio, TX as an instructor and artist.

Gallery hours
Saturday, October 14, 11am-3pm
Saturday, October 21, 11am-3pm
Saturday, October 28, 11am-3pm
Friday, November 3, 6–9pm – Artist’s Reception
Saturday, November 4, 11am-3pm – Last Look


Artist’s Statement

“Into the Middle Distance” is an ongoing body of photographic prints and arrangements that began with a personal collection of images of the American west taken in 2013 and rediscovered during months at home in 2020. Newer images join the archive and become opportunities to measure and address the distance between my feelings and beliefs—those I held dear to then and those I try to affirm now—about what happens when I attempt to photograph the American landscape, its nature, and the content of its built environment.

In trying to make sense of all these images—each of which I had only narrowly understood as individual moments where I tried to exploit photography’s capacity to aestheticize vastness, emptiness, and ruin in order to explore personal feelings of estrangement and belonging as a first generation immigrant in the United States—I found that the pain and limitation of any one picture could be refracted, reduced, and reshaped when placed in community with others.

This process has resulted in a newfound commitment to modestly-sized photographic prints that I can make at home; a movement away from singular images towards diptychs, triptychs, and larger formal arrangements to build works; and most consequentially, to thinking about how such arrangements and connected visual affinities might help me access more expansive and collectively oriented meanings.

Sometimes photographic images, when theories of seeing and understanding are applied to them, are structured to feel like the experience of looking at a view through a window, onto the world, or as a reflection seen in a mirror, onto the self. I think photography is constructed more like a wall than a window. A wall is always an obstruction, always aggregated and opaque, and so a thing that can periodically give shade. Resting in the coolness of that shadow, I have time to wonder if this wall might also be a balm and bulwark against loneliness and isolation.

About the Artist

Sherwin Rivera Tibayan (Philippines, 1982) is a photographer based in Austin, Texas, who uses formal strategies of repetition, multiplicity, and obstruction in order to make the infrastructures (material, institutional, psychological) that support the ever accumulating ways we are asked to make, interpret, experience, and use photography, the subjects of his works.

His projects have gained recognition from Photolucida, the Magenta Foundation, and the Houston Center for Photography. He has participated in artist residencies with the Center for Photography at Woodstock, Triple Canopy, and A.C.R.E. In 2021 he exhibited two bodies of work in Austin: a solo show at the City of Austin’s Asian American Cultural Resource Center (“Filipino American Navy”) and as part of the The Contemporary Austin’s “Crit Group Reunion” (“Balikbayan”).

Gallery hours
Saturday, September 16, 11am-3pm
Saturday, September 23, 11am-3pm
Saturday, September 30, 11am-3pm
Friday, October 6, 6–9pm – Artist’s Reception
Saturday, October  7, 11am-3pm – Last Look


Artist’s Statement

The contemporary art world and life in general have led me to beautiful and interesting places. Most of my work up to this point has approached existentialism. For a while, I have moved toward analyzing the monstrous idea of racism and philosophical ideas within Black existentialism.

How I work with this is through the creation of surreal objects with an analytical approach. I use various mediums to tackle the subject matter of racism. Mainly its effects on the Black community and other people of color. This includes the intersections with other issues within Western society.

Through research and experiments, I will continue exploring ideas of dismantling racism. However, I want to examine the effects of social death and its effect on the Black community. I want to know what that means for BIPOC people treated this way in an already regressing nation. Most of all, how we fight or reclaim our bodies, Physically and existentially.

About the Artist

Emeri Warren Harris is a San Antonio-based interdisciplinary artist. They are 29 years old and work in various mediums: painting, soft sculpture, and performance.

Emeri started their artistic career in 2012 when they went to Mississippi Delta Community College. Then, they moved back to San Antonio to attend the University of Texas in San Antonio. Throughout the years, they have discovered their voice in their work and have improved their skills and sense of self.

Currently, Emeri is exploring ideas of Black Existence and tackling Racism against BIPOC. They have been in several exhibitions around San Antonio including theBlack Sheep Exhibition, Upstairs Studio, Blue Star Red Dot 2020 and 2021, and the CAM breakout series in 2022. Emeri was born and raised in San Antonio, TX. They attended the University of Texas in San Antonio and graduated in the fall of 2018.