On View July 10-August 2, 2026
Opening Reception: Saturday, July 11, 6–8 pm
Nataliya Hines
Ghost in the Machine
Ghost in the Machine explores how meaning is constructed, inherited, and adapted in service of a new mythos. Titled in reference to Arthur Koestler’s concept of the fragmented mind, the work reflects on the tension between self and system, and the imperfectly evolved impulse to reconcile the two. The nine paintings in this exhibition depict figures emerging from primordial folkloric memory and personal history, forming a speculative mythology. Grounded in the elemental, cyclical sensibility of nature-based belief systems, the works consider how experiences of transcendent beauty in nature can provide a sense of connection and continuity. This exhibition reflects an uncanny, preternatural space for navigating the harmony and discordance within identity and our need for belonging; it is a place to consider a past and future of our own in the shadow of the one written on our behalf.
About the artist: Nataliya Hines is a Connecticut-based painter, printmaker, and digital artist whose work merges mythology with questions surrounding technology, authorship, and belief. Drawing from art history, folklore, portraiture, and religious iconography, she constructs speculative narratives exploring the emotional and philosophical implications of machine learning. Her paintings position symbolic femininity and nature-based mythologies against an algorithm-driven cultural landscape. Hines studied printmaking and art history at SUNY Purchase and the Institut d’Études Supérieures des Arts, respectively. She has exhibited in New York City, Germany, and the Netherlands. Ghost in the Machine is her sixth solo exhibition.
Nataliya Hines, The Mother Tree, 2026, acrylic on canvas, 39 in. x 32 in.
Robin Adler, Karen Allen, Eileen Sackman
Bone Broth
Structural integrity drives this three-person exhibition by Robin Adler, Karen Allen, and Eileen Sackman. Just as a skeleton supports an organism, the bones of a composition and materials dictate artistic form. Together, these artists explore the limits of the structures beneath: how much pressure and strain a foundation can endure before deteriorating, and the tension required to bring a creative vision to life. Through translucency and light, abstract figuration and shadows, and emotional tone, Adler, Allen, and Sackman seek to unearth the beauty of structure within each of their works.
Sackman examines translucent porcelain and the way light infiltrates and changes her carved skeletal structures. Drawing inspiration from the ossuary, she reflects on how these communal spaces gathered the exhumed bones of strangers into a single entity, transforming remains into beautifully intricate patterns lining sanctuary walls and underground passages. In her work, Allen integrates painting's traditional materials with gestural drawing, fabric, and other found materials. Her use of color and value creates contrasting passages of shadows and light that suggest bodies beneath the surface of her figurative abstract works. Adler takes an intuitive approach to exploring structural integrity. She begins with the visceral sensations inspired by what lies underneath an organism, expressing a felt sense of foundation in each composition. Her paintings, encaustics, and collagraphs evoke movement and stasis through a markedly dark palette and shapes gathered like an inventory of bones.
About the artists: Robin Adler is an abstract painter and printmaker based in the Hudson Valley. Working in various media—including oil, acrylic, wax, and ink—Adler transcribes emotional experience into visual form. Karen Allen earned a BFA in painting while on scholarship at Syracuse University in the late 1970s and has been practicing art ever since. Eileen Sackman has a comprehensive background in fine arts, having earned an MFA in ceramics from SUNY New Paltz, an MA in sculpture from Adelphi University, and a BA in sculpture from Hunter College. She is an instructor and professor of ceramics and maintains a flourishing studio practice and an active exhibition schedule.
Eileen Sackman, Ossuary Light, 2026, porcelain, wheel thrown and hand carved, 7.5 (h) in. 4.5 (l) x 4.5 in. (w); Karen Allen, Beauty's Revolt, 2022, oil over acrylic on canvas, 49 x 25 in.; Robin Adler,You Who Held Me All My Life, 2026, acrylic and oil on canvas, 40 in. x 30 in.
William PK Carter
Blessings of Extinction: remembering what came before, and imagining what comes next
Blessings of Extinction compares short-term adaptation to long-term evolution in nature, arguing that the survival of a marginalized species depends on the eventual extinction of its predators: white supremacy and heteronormativity. In that comparison, this exhibition highlights the impact that an individual’s seemingly small lifestyle changes can have on the overall trajectory of their entire community—demonstrating how choosing to be visibly authentic in one’s daily life sends ripples of hope through those who’ve come before and will come after them. The show includes wall-mounted illustrative quilts depicting the evolution of a fantastical creature and three puppet performances held in and outside of the gallery. This project is made possible with funds from the New York State Legislature and administered by Arts Mid-Hudson. In partnership with Dutchess County Pride.
About the artist: William PK Carter is a quilter and puppet artist based in Central Valley, New York. She bridges the puppet and fine-art worlds by fabricating wondrous creatures that exist at the intersection of queerness and blackness. She received her BS in Studio Art from Skidmore College in 2023 and is the recipient of the Skidmore College President’s Racial Justice Award, the John P. Heins Award: Outstanding Senior Thesis Exhibition, and a Jim Henson Foundation Workshop Grant. She is a current resident artist at LaMama Experimental Theatre Club, where she is developing a long-form puppetry piece entitled Beautiful Without Consequence.
William PK Carter, Always Aware of Both Skins, 2025, patchwork quilt, 44 in. x 72 in.