Gallery hours
Saturday Mar 11, 11am-3pm
Saturday Mar 18, 11am-3pm
Saturday Mar 25, 11am-3pm
Friday, Mar 31, 6–9pm
Saturday Apr 1, 11am-6pm (Lockhart Sip & Stroll festival)
Curated by Raul Rene Gonzalez
Artwork list
Audio Stories
The visual pieces in this exhibit are accompanied by audio. Women whose portraits are featured share stories about their lives and how they feel about dance and movement. Featuring spoken word by Andrea Vocab Sanderson and selected clips from Glory Jones, Shelby Hilliard, Nanako Pastol, Sarah (Foxsar) Fox and Andrea Vocab.
Listen to the 8 minute audio here:
Longer versions of the stories can be accessed on Soundcloud.
Artist’s Statement
The Glorious Way She Moves explores the fullness and depth of the female form from youthful innocence to glorious maturity. As a multi-racial and cultural artist, I strive to address inaccurate, misplaced labels put upon cultures, race and the feminine gender. These interpretive portraits illustrate the exuberance and individuality of each muse I celebrate and emphasize the remarkable features and characteristics of women in every phase of womanhood. Through their poise and spirit, they pay homage to the legacy of generations of women who came before them. Symbolically, these portraits exemplify the self-esteem women exude as they move through their lives and the world.
The large scale format brings the women I portray into a magnified view that recognizes their magnificence as multi-faceted human beings. In my process, I video record each woman dancing, then jump to the film’s individual frames, using them to help me expose and capture my subjects’ unique character and individuality. During their dance, I specifically look for physical and expressive nuances my subjects demonstrate, then use these individual signature movements to reveal each subjects’ aesthetic. By doing this I experience a connection to their beauty without stereotyping. It is that connection I share in my work.
About the Artist
Barbara Felix is a San Antonio native and contemporary figurative artist. She received her BFA in Graphic Communication at Texas State University in 1991, where her TSU coursework fired her love of the human figure and inspired her long pursuit to work as an artist. Felix began taking community classes at the Southwest School of Art, San Antonio in 2006. After receiving a Best of Show award in 2007 at the All-Student exhibition she began a more dedicated pursuit of art, receiving a Certificate in Drawing, Painting and Printmaking in 2013.
Felix’ ongoing series of works include: Bailando con Mi Misma (Dancing with My Self), The Color of Women, and The Glorious Way She Moves. Body movement, body language, facial expression and relationships and identity are common themes she explores in her work. She received a 1st place award at the Round Rock Arts [Re]Imagine Exhibition in 2019 for her portrait of Thelma and Barbara, and recently her work was showcased in The Billboard Creative’s We the People billboard exhibition in Los Angeles, CA. She is self-taught in animation, video and audio editing. Her animation and performance videos have been screened in festivals and exhibitions across the United States and internationally.
Felix is actively engaged in her community, as an executive board member of Contemporary Art Month (CAM); and an active member of both San Antonio Ethnic Art Society (SAEAS) and Gentileschi Aegis Gallery Association (GAGA). She has curated exhibitions for the Bijou Cinema Theater (2017-2019), Slab Cinema Arthouse (2022), and the City of San Antonio Department of Art & Culture (2022/2023). She has recently early retired from corporate graphic design in 2022, to pursue her artistic passions full time.
Artist’s Website
Gallery hours
Saturday Feb 11, 11am-3pm
Saturday Feb 18, 11am-3pm
Saturday Feb 25, 11am-3pm
Friday, Mar 3, 6–9pm
Saturday Mar 4, 11am-3pm
Artwork List
Artist’s Statement
As someone that has a career that allows me to spend time nurturing my children, I know the moments I share with them are precious and extremely valuable, especially as a father. This exhibition is about sharing those moments, between parent and child, between father and daughters. I spent several years after grad school as the “stay-at-home-parent” in our household, while simultaneously balancing my art career. After a few years of creating paintings and drawings about my own experiences, I began to collaborate with other working artists, sharing a glimpse into their world as parents.
This exhibition features select works from my Doing Werk and Artists-Parents series. The Artists-Parents series was funded by a 2020 Artist Grant from the Luminaria Artist Foundation and the City of San Antonio.
About the Artist
Raul Rene Gonzalez is a multidisciplinary artist who incorporates an astonishingly wide range of mediums and methods in his paintings, drawings, sculptures, clothing, murals, installations, live and recorded dance and other performance-based work. Largely autobiographical in nature, his work explores topics such as fatherhood, gender roles, labor, identity, pop culture, science, and abstraction.
A prolific creator who finds inspiration anywhere and everywhere, Gonzalez is known by art critics, curators, and friends alike for his unwavering energy, ambition and experimentation that has led to the creation of several hundred unique works over the past decade. He truly lives his motto: “Werk. Hustle. Sleep. Repeat.”
Gonzalez earned his M.F.A. in Art from the University of Texas at San Antonio and a B.F.A., Magna Cum Laude in Painting from the University of Houston. Raul is the Director, Curator, and Resident Artist at Clamp Light Studios & Gallery, an artist-run space in San Antonio where the artist currently lives with his wife and two daughters. Raul also manages WerkHouse SA, a short-term rental property.
A Houston native now based in San Antonio, Texas, Gonzalez’ experiences living in two of the biggest metropolitan cities in the country influence nearly all his bodies of work—from detailed urban landscapes that pay homage to the workers who build and maintain our cities, to large-scale duct-tape and cardboard installations, to his paintings that document key features of San Antonio’s musical history displayed permanently in San Antonio’s City Hall.
Gonzalez has been featured in New American Paintings No. 162: West Issue, Harper’s Magazine, Southwest Contemporary Vol. 5: Collectivity & Collaboration, Create! Magazine, Glasstire, The San Antonio Express News, La Prensa Texas, Spectrum News, The SA Current, The Austin Chronicle, and Whataburger.
Gonzalez’s work has been exhibited and featured widely throughout Texas and the United States. Since 2012, his work has been added to permanent collections such as the National Mexican Museum of Art (Chicago), the National Hispanic Cultural Center Art Museum (Albuquerque), Benson Latin American Collection (Austin), Mexic-Arte Museum (Austin), the McNay Art Museum (San Antonio), the University of Texas at San Antonio, Capital One Financial Services (Plano and San Antonio), the City of San Antonio, The Woodlands High School Art Trust, Artes de la Rosa (Fort Worth), the Whataburger Museum of Art, and The San Antonio Art League & Museum.
Artist’s Website
Gallery hours
Saturday Jan 14, 11am-3pm
Saturday Jan 21, 11am-3pm
Saturday Jan 28, 11am-3pm
Friday, Feb 3, 6–9pm
Saturday Feb 4, 11am-3pm
Curated by Raul Rene Gonzalez
Artist’s Statement
As an artist, I am constantly seeking clarity and understanding within myself and the world around me. These moments can be fleeting, but they offer a glimpse into a deeper understanding of myself and the world around me.
In my work, I often use wood as a metaphor for the fleeting nature of time. Wood is a natural material constantly changing and shifting, representing the impermanence of our existence. By contrasting wood with cement and steel, I can create a sense of stability and permanence, even as the wood continues to change and decay.
Through my sculptures, I aim to capture the ephemeral nature of these moments of clarity and the sense of impermanence that comes with them. By depicting the interplay between the natural and artificial, I hope to create a visual metaphor for the ever-evolving process of self-discovery and growth.
About the Artist
I am an emerging Artist based in San Antonio, TX, born in 1998. I am a self-taught wood sculptor, and since 2016 I have been working with artists in their sculpture and fabrication studios. My work is expressed through multimedia abstract figurative sculptures using a variety of mediums such as wood, steel, and cement. I find using various raw materials helps to provide unique and unexpected challenges that help feed into a conceptual blueprint for my work.
Artist’s Instagram
Gallery hours
Saturday Dec 10, 11am-3pm
Saturday Dec 17, 11am-3pm
Friday, Jan 6, 6–9pm
Saturday Jan 7, 11am-3pm
Curated by Raul Rene Gonzalez
Kim Bishop is a nationally exhibited artist who has been working from her San Antonio, Texas, based studio for the past 20 years. Bishop offers a cross sectional view of the effects of experience on memory, dreams, and repetitive ritual within an interdisciplinary structure.
Here Bishop reinvents her self-portrait of navigating, as a woman, the social condition of her time in her constant endeavor to measure the standard that determines her worth through a variety of drawing processes. Her imagery focuses on the entanglement of body, time and movement to create a holistic self-portrait which carries a universal theme of quantum remembrance and the physical.
Closing reception Friday, December 2, 6–9pm.
For gallery hours and visit info, click here.
Curated by Raul Rene Gonzalez
About the Artist
Andrei Renteria is a multidisciplinary artist wandering about the U.S.-Mexico frontera. His experimental approach to material and research provides a powerful forum from which to investigate how to address and embody weighty subject matter (including torture and violence) beyond international borders. His work focuses on recurrences of discrimination, persecution, unlawful imprisonment and other human rights abuses along the region. Renteria earned his BFA from Sul Ross State University in 2010 and MFA at the University of Texas at San Antonio in 2015.
Artist’s Statement
I envision myself as a reportage artist, who carries back stories and situations confronted along the U.S.-Mexico border, where I grew up. My approach to material is experimental, and incorporates drawing, painting, lithography, sculpture, assemblage and installation. I use these media as a powerful forum to investigate how to address and embody weighty subject matter beyond international borders.
I aim to induce a social collaborative experience with the viewer, referring to the relationship of the body to the object and the sense of exploitation or power. Ambitiously, I am trying to destabilize the border between artist, artwork, and audience—analogous to the socio-political border.
Recently, I’ve been trying to understand how participant observation can be used to understand and describe the set of contingencies played upon family members, who are desperate to find their missing loved ones. By forming collectives, they attempt to pressure the Mexican government into helping them investigate, locate, and excavate mass grave sites, maintained mostly by powerful drug cartels.
Closing reception Friday, November 4, 6–9pm.
For gallery hours and visit info, click here.
Curated by Raul Rene Gonzalez
About the Artist
Sara Corley Martinez was born in Frederick, Maryland in 1986. She received her MFA from the University of Cincinnati in 2011. Sara has exhibited around the US with work in Baltimore, New York, Houston, and Cincinnati. After a break to have a child she was inspired to create work about the physical transformation and absurdly wonderful experience of motherhood. Sara was Director and Curator at the now closed Mantle Art Space and is currently a Resident Artist at Clamp Light Studios and Gallery in San Antonio Texas.
Artist’s Statement
This exhibition began with appropriating other artists’ work through the point of view of parenthood. I specifically was interested in Matthew Barney’s “Drawing Restraints” and the idea of art making as parallel to athletic practice. The artworld was interested in the obstacles and physical training he put himself through when compared to athletic practice but what about other forms of restraint? What about the “obstacles” that are children, being a mother, or issues having to do with an aging woman.
I decided to expand on my initial performance about the obstacles of being a mother and an artist, to other issues having to do with mothering and specifically a mother’s identity post baby. This post baby identity for me manifested as a midlife crisis of the best kind.
Throughout this exhibition you will see references to this second puberty mixed with that of mothering, tending to a home, and a second sexual awakening. All of these feelings manifested in my relationship to the objects surrounding me. This took me on a quest to find an identity not related to others, but grounded in my own autonomy as a matron. I am playing with many ideas of restraints and finding relationships with objects beyond mothering from colorful BDSM rope, to extension cords, to home fitness equipment, to heels, and to girdles. All of these self imposed restraints challenged me to figure out a way to talk about this new experience in my artwork, and overcoming those feelings of not belonging or even being ridiculed in my open sexuality as I become a middle aged mother. All of that confusion and chaos of my own insecurities are restraints for me to overcome as I get comfortable in my artistic practice.
Skully Gustafson, Tyler Hagebusch, Jimmy Frezza and Sam Foster all met at the Milwaukee Institute of Art and Design in the early 2000’s. After becoming fast friends and sharing a common interest in the late 1970s No Wave art scene they disbanded as quickly as they met. Jimmy joined a punk band, later to tour the US and Europe and eventually went back to school for art. Sam got sober and started working in mental health, later enrolling in a TM-based MFA program. Tyler, who was lost for many years, ater to be found as a Mail Man and ceramic artist. And Skully prolifically painted the whole time. Later the four artists connected and planned this show. A reunion of friendship and art, after many years their common interest of the fast, loud and sick remain.
Screep (Scary + Creepy) is a word the four made up while getting stoned in a parking garage in downtown Milwaukee after breaking Trish’s pipe.
Skully Gustafson on Instagram
Tyler Hagebusch on Instagram
Jimmy Frezza on Instagram
Sam Foster on Instagram
Closing reception Friday, September 2, 6–9pm.
For gallery hours and visit info, click here.
Coordinated by Alex Renbarger
Alex Renbarger is an oil painter who focuses on interior and exterior spaces to discuss the mundane and mental health. She is about to graduate from Texas State University in San Marcos TX with her BFA in studio art and a minor in communication studies. By then, she will have shown her work in the Slice of Home Exhibition online, at the Exit Exhibition, and the Hallway exhibition in San Marcos, TX. (Website)
Jennifer Moore creates videos, sculptures and drawings that hover around themes of home and body. Her preferred materials are broken household items, fabric, bottles and old electronics. She finds these items lying around the city of San Marcos where she lives and works. She received a BFA in Studio Art from the Texas State University School of Art & Design in 2018. (Instagram)
Juania Sueños is co-editor-in-chief at Infrarrealista Review, a literary journal and press founded highlighting underrepresented Texan voices. We follow an outside-the-establishment ethos that guide our selections of excitingly different new writing that is not afraid to break traditions. We are also a non-profit with a vision to create a central Texan literary community that is economically sustainable for writers, so we pay all our writers. (Website)
Laurel Coyle is a photographer and videographer. Having a keen eye for location scouting and natural light, she researches her subjects and places them in environments that give the audience an intimate peek into the soul behind the creative process. Her ever-evolving curiosity leads her to take the seemingly ordinary and turn it inside out until she locates the extraordinary. Coyle lives in Lockhart, Texas. (Website)
Sam Foster grew up in Lawrence, KS and graduated with a BFA from Milwaukee institute of Art and Design in painting and studio art (2012). Sam works and lives in Austin, TX, and creates paintings and video art inspired by his life experiences. His paintings incorporate garish oils and collaged elements. Similarly his videos combine personal and found footage. (Instagram)
Reception Saturday, July 16, 6–9pm.
For gallery hours and visit info, click here.
Curated by Caroline Frost
After taking a hiatus in his practice to travel internationally, cross-disciplinary artist Jamie Panzer makes his return in his solo exhibition, Lyrical Space, at Spellerberg Projects. Born in New York City and raised in Maryland, Panzer has exhibited in major cities across the country while living in Austin for the last 20 years. After leaving Austin to travel abroad, Panzer is now based in Maryland. Lyrical Space displays mixed media work that Panzer began creating while living in Mexico during the height of the Covid-19 pandemic.
Lyrical Space reflects Panzer’s ongoing interest in recycling and rearranging found materials collected from his surroundings. The featured works combine paint and collage, appropriating commercial packaging, old textbooks, and other media to create new forms and compositional relationships that blur familiar imagery and abstract illusions. The resulting reconstructions are playful and suggestive, encouraging viewers to engage with them imaginatively while pulling from mental semiotic encyclopedias.
The featured works’ ambiguity also reflects the social and political contexts of their origin. Whereas Panzer’s previous bodies of work have manifested preconceived visual aesthetics or ideas, his newest works arise out of improvisation and reaction to global events taking place in 2020, the years that have followed, and today. Panzer’s appropriation of found media provokes a sense of uncertainty, demonstrating how the artist navigates today’s social currents by incorporating cultural discards.
Artist’s Statement
In the midst of a pandemic, I was forced to remain in a single location in Mexico. I set up a makeshift studio and, using materials I could cobble together, began an approach that was relatively new to me; incorporating painting and collage. Themes of isolation, confusion, apprehension, frustration, and mutation came to the fore. The results straddle the fence somewhere between narrative and abstraction of the great unknown.
The process I’m using in this current work allows for constant revelation, improvisation, and reaction. Like an archaeologist in a poet’s pants, I excavate books and magazines digging up artifacts to categorize and then reconstruct. I suspect I’m fulfilling the role of some sort of trans-dimensional cultural anthropologist whose research manifests in aesthetic imagery of whimsical witticisms.
Until I embarked on my journey, I explored various mediums and messages. The fundamental difference between the earlier and current works is that the previous results were arrived at by manifesting a preconception. A contrivance envisioned and then manufactured. I’m always aware of, and therefore willing to provoke, a sense of uncertainty while embracing an elastic mindset. We’re all negotiating through an enduring and incomprehensible plane of existence. I do so by showing and telling.
About the Artist
Jamie Panzer was born in New York, New York, reared in Silver Spring, Maryland, and currently lives and works in Austin, Texas. He attended Old Dominion University on a Soccer Scholarship and transferred to Carnegie-Mellon University where he earned a BFA in Art and Graphic Design, and then moved to Austin. He attended the Maryland Institute, College of Art as a Graduate candidate for a year but returned to Austin to complete his degree from The University of Texas at Austin as the first in the newly inaugurated Trans-media Program in 1993. He then relocated to Baltimore to assume a position as Assistant Director of Exhibitions at MICA and soon after became Art Director at an interactive advertising agency in New York. He has exhibited in Pittsburgh, New York, Austin, Houston, Dallas, Baltimore, Washington, DC, San Antonio, and Los Angeles. Panzer has shown extensively in Austin since his return to Texas. He paused his practice in 2017 to travel with the intention of finding a new environment in which to settle.
Artist’s Website
Reception Saturday, June 18, 6–9pm.
For gallery hours and visit info, click here.
Curated by Caroline Frost
Lubbock-based artist bradycollings translates meditations on domesticity, nostalgia, and voyeurism, as they relate to queerness, into objects and images in do i not fill heaven and earth. In their featured mixed media work, bradycollings uses repetition as a tool to explore anxiety-inducing cyclicality, as well as the comfort that can be derived from such thought patterns. Images are repeated, manipulated, and disfigured, allowed to deviate and distort, as thoughts or memories do, often falling back into line from momentary slippages. The shifting back into place, evidence of such slippage, is further accentuated by the nervous quality of the image-making, out of focus and blurry, existing within a space of uncertainty and apprehension.
do i not fill heaven and earth investigates Home as a concept and the associations attached to it. By appropriating wallpaper patterns, photographs, and other forms related to domestic spaces, bradycollings evokes a feigned nostalgia to explore how these spaces often feel inaccessible to queer people, and the emotional repercussions that arise when a body is born into a space where its inherent design creates opposition to existence. Images used are vernacular in nature, creating the sensation of browsing through a personal photo album.
The featured work also demonstrates bradycollings’ interest in voyeuristic themes. By situating the viewer as a voyeur, the work initiates commentary on how queer people are often perceived through their intimate relationships by default, immediately sexualized by others even if this perception is against the subject’s will or consent. This theme is explored through images of the artist in drag, where the viewer is gazing at a figure often in lingerie or various stages of undress, and by creating home-like sculptures or images that the viewer has to peer around and into to in order to consume the information.
In do i not fill heaven and earth, bradycollings offers their personal thoughts, experiences, and memories as tools for grappling with the experiences and treatment of queer people within spheres that have been constructed for those who do not identify as queer. In doing so, bradycollings reclaims the spaces which have traditionally excluded queerness.
Artist’s Statement
do i not fill heaven and earth considers the deceptive and expansive qualities of memories, thought patterns and their processes, and objects and images in relation to queerness. This body of work demonstrates an interest in how objects and images are carried within oneself, physically, mentally, or metaphorically, and the way time, distance, death, and life experiences can alter and distort objects and images from their original form, function, or meaning. Attempting to grapple with the hoarded visual information associated with my homes and deceased loved ones’ homes, do i not fill heaven and earth is the physical manifestation of my time spent mulling over or ruminating on thoughts and events. I’m considering not only objects, images, and domestic spaces but also how queer bodies exist within them, distort them, and resist them. By utilizing long-time intensive repetition, I am able to attach a physicality to the extended time I’ve spent thinking about these images. Through themes of voyeurism and domesticity, do i not fill heaven and earth explores my complex feelings of comfort and anxiety, clarity and cloudiness, and the desire for the nostalgia and sentimentality that as a queer person has been robbed of me.
About the Artist
bradycollings is an interdisciplinary queer collage artist, painter, and drag queen from the piney woods of East Texas. bradycollings attended undergraduate at the University of North Texas and The University of Texas at Tyler, receiving their BFA in studio art from the latter in December 2020. Currently attending Texas Tech University in pursuit of an M.F.A in painting, bradycollings work focuses on ideas of memory and its expansive and deceptive qualities, and how this intersects with themes of home, family, drag, queerness, and the body. In addition to maintaining a studio art practice, bradycollings performs on cast at Club Luxor in Lubbock, Texas every weekend, utilizing materials from their drag practice within the work. bradycollings has exhibited in juried exhibitions nationwide, as well as various group shows in the East Texas area.