Spring Awakens at Hawk + Hive with a Bold and Eclectic Salon

The arrival of spring in the northern Catskills carries a particular kind of anticipation.
After months of gray skies and quiet streets, color returns slowly to the landscape. At Hawk +
Hive, that sense of renewal has already taken hold indoors with Spring Salon 2026, a vibrant and
thoughtfully assembled group exhibition curated by Jayne Parker.
The participating artists include Rich Cali, Anthony Chase, Joe Concra, Ashley Norwood
Cooper, Caroline Fay, Don Freeman, Amy Masters, Michael McGrath, Melissa Murray, Jeff
Quinn, David Storey, and Trevor Wilson. Together, they offer a sweeping range of approaches.
Cali’s bold, symbolic imagery distills form to its essentials, while Chase’s textured surfaces blur
the line between painting and textured object. Concra introduces a quiet surrealism rooted in
traditional technique, and Fay turns to nature with intimate, contemplative studies
A painting by Michael McGrath serves as a compelling example. At first glance, it reads
as a landscape familiar to anyone in the Catskills. Yet the colors are heightened, almost
otherworldly, and a solitary figure stands in quiet confrontation with the viewer. The scene resists
passive viewing. It asks questions. Why is the figure there? Why does the light behave as it
does? These layered elements transform what might have been a simple pastoral image into
something far more engaging.
This emphasis on layered storytelling extends throughout the exhibition. Rather than
presenting a uniform vision, the salon format allows for contrast and dialogue. Parker
intentionally embraces variety in technique and subject matter, creating an environment where
differences become the strength of the show.
Freeman’s work bridges photography and painterly intervention, creating delicate
compositions that feel both precise and atmospheric. Masters focuses on domestic still life,
elevating everyday objects through structure and color. McGrath and Murray both explore
dreamlike territories, though in distinctly different ways, with McGrath leaning toward narrative
fragments and Murray constructing intricate symbolic ecosystems.
Norwood Cooper brings a lively and expressive energy, filling her canvases with
movement and vivid color and expressive character studies. Storey’s figurative works feel like
fleeting memories, softened and partially obscured. Quinn’s meticulous drawings introduce a
surreal and slightly unsettling presence as an exercise of the artist game exquisite corpse, while
Wilson’s geometric compositions reveal a disciplined exploration of pattern and perception.
At the opening reception this past Saturday, the diversity of voices became part of the
experience itself. Artist Joe Concra captured this dynamic well, noting that the exhibition allows
“12 different voices in their own way having their own vocabulary” to engage with one another.
That sense of conversation is palpable throughout the gallery. Each piece stands independently,
yet contributes to a larger dialogue about perception, memory, and transformation.

Concra also expressed his admiration for Parker’s curatorial instincts, describing her as
someone whose eye he trusts completely. His enthusiasm reflects a broader sentiment among the
artists, many of whom have developed strong professional and personal connections through the
gallery. While Parker insists that personality is not a primary factor in her selections, she
acknowledges that these relationships often become a meaningful bonus.
Parker’s confident and intuitive eye, bringing together twelve artists whose work reflects
not only the shifting season but also a wide spectrum of artistic voices. The result is a show that
feels alive with energy, a welcome contrast to winter’s restraint. Parker herself describes the
exhibition as “a rather eccentric show,” noting that she is “normally fairly restrained with
esthetics” but here is intentionally pushing boundaries.
That willingness to embrace a broader range is immediately apparent upon entering the
gallery. Color plays a leading role. Soft blooms, surreal palettes, and luminous surfaces echo the
first signs of life returning to the Catskills landscape. It is less about literal representation and
more about emotional resonance, the feeling of emergence and possibility.
Parker’s curatorial philosophy resists easy definition. When asked what guides her
selections, she emphasizes the intangible nature of her process. What she seeks is a distinct
artistic voice, work that does not simply echo another artist but instead carries its own identity.
Technical skill is important, but so is narrative depth. She is drawn to art that invites
interpretation, that encourages viewers to linger and form their own connections.
The salon format itself is a practical and thoughtful response to the realities of the season.
Winter and early spring in the Catskills can be a challenging time for solo exhibitions, with
limited foot traffic and unpredictable weather. By organizing group shows like this, Parker
creates a more accessible and relaxed environment for both artists and visitors. It allows for
greater variety and reduces the pressure on any single artist to carry an entire exhibition.
Looking ahead, Hawk + Hive has an ambitious and diverse program planned for the year.
Upcoming exhibitions include an abstract show by David Hornung, a two person still life
presentation by Carrie Mae Smith and Mike Casey, and a contemplative landscape series by UK
artist Gianni Notarianni. Returning artist Luke Doherty will also present a new body of work,
alongside future exhibitions that continue to balance local and international perspectives.
For now, Spring Salon 2026 stands as a strong opening statement. It captures the essence
of transition, both seasonal and artistic, with a sense of openness and curiosity. Like the first
warm days of the year, it invites visitors to step forward, to look closely, and to embrace the
unexpected.
For more information see: HawkandHive.com and on Instagram @hawkandhive