The works in Fragments of Silence share no subject, no palette, no scale. What they share is quieter: each one was made by removing more than was added.
Erosion is the exhibition's unspoken medium. One painter sands back every layer she lays down. A photographer prints, bleaches and re-photographs the same negative across five years. A sculptor casts in plaster, then lets the North Sea finish the surface over a winter. The gallery walls this summer hold the record of those slow subtractions.
Walking the hang, visitors lower their voices without being asked. We have noticed this for years and stopped trying to explain it. Silence, it turns out, is part of the collection — the pause between works where the previous one settles.
Each work was made by removing more than was added.
Mara Ellingsen, whose material studies anchor the show, describes her process as "listening with my hands." She works with gesso, ash and ground stone on linen, building surfaces that resemble weathered walls — the kind you touch without thinking in old Mediterranean towns. Memory lives in those textures before language gets to them.
The exhibition runs April through August across both rooms. Admission is free, and on quiet weekday mornings you may have the silence entirely to yourself. Join the Collector Preview in August for a guided walkthrough with the artists.