Exhibitions

March 31 – April 25, 2026

Miracles

Receptions: 
Thursday, April 2, 6-8pm

Saturday, April 4, 3-5pm

Melanie Hickerson is a painter whose work blends narrative, metaphor, and lived experience into richly colored, disciplined compositions. She earned her MFA from The University of Texas at Austin in 1985 and has exhibited extensively in New York and Texas, including long-time exhibitions at Ceres Gallery. Her recent series, Ribbon of Life and Homage to Miracles, explores ecological loss and interconnectedness through dream-like, surreal imagery. Hickerson’s work is held in the permanent collections of the University of Texas at San Antonio and Texas Lutheran University in Seguin. She lives and works in Austin, Texas.

View additional work by Melanie Hickerson here.

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March 3 – 28, 2026

Qhapaq Ñan

Ceres Gallery is pleased to present Qhapaq Ñan.  Micaela de Vivero’s art is never simple, never unidimensional, never a finished thing, and never to be underestimated.  Your participation, in fact, is critical to the way in which its meaning grows and expands. Vivero asks us to think about how meaning is made across the vagaries of oceans, centuries, belief systems, colonial powers, materials, and even systems of communication. Vivero’s art is deeply informed by the strand of decolonial thought that suggests the only positive way to repair societies fundamentally damaged by colonialism is to ‘delink’ them from the colonial paradigm and to reassess pre-colonial culture on its own terms. Rather than simply negating the colonial matrices of power, decolonial thought is the essential frame for recognizing colonial social, political, cultural, and religious impositions as co-optation or subjugation strategies that alter targeted cultures, sometimes irrevocably; it accordingly concludes that repair is difficult, transcultural, and complex. These refrains are threaded, sometimes quite literally, throughout Vivero’s work, in this case in the form of Inkan khipus and tocapus. For this exhibition, Vivero has focused on two intricate Inkan forms of material communication, khipus and tocapus, as source material for her work.

Both khipus and tocapus functioned in Inkan imperial culture to uphold and maintain the complex structures of power and order. Their deeply embedded visual codes depended wholly on specific bodies of very precise cultural and intellectual knowledge, and the recursive impact of those codes at very specific times, places, and in very particular contexts. The original meanings of these objects in their time and place can no longer be reconstructed. Very few survive, most were hidden, lost, or destroyed after colonization by the Spanish, but a few were transported to Europe where they gained new meaning as imperial trophies or treasures. There is one such treasure, the imperial tunic held by Dumbarton Oaks in Washington, DC, on which Vivero bases her tocapus, have been reclaimed today by Andean peoples in many forms of reproduction, along with a cluster of new national meanings.

Micaela de Vivero’s installation is a subtle and sophisticated commentary on the life, the significance, and the power of images, objects, places, and on ways in which both dominant and subversive forms of visuality can correspond, can converse, and can create a productive new discourse, especially when they meet in diplomatic congress. Her art is as complex and ineffable as it and its khipus and tocapus are beautiful.
Text by Joy Sperling

View additional work by Micaela de Vivero here.

Heartbeat of the City

Multi-Sensory Fiber Art Exhibition

March 3 – 28, 2026

Heartbeat of the City: Multi-Sensory Fiber Art Exhibition by Jayne Bentley Gaskins is on view this month at Ceres Gallery. Gaskins’ work combines visual storytelling with integrated sounds to create a multi-sensory environment that echoes the rhythm of fast-paced metropolitan life.

Gaskins contends that, “People are the lifeblood of cities, so it follows that the streets, sidewalks, subways, cars and taxis are the veins and arteries carrying them through the organism. The speed they travel, therefore, creates each city’s unique heartbeat.”

Jayne Bentley Gaskins’ work has been exhibited in galleries and museums throughout the US, Europe, Asia, and Australia, and has earned numerous awards. Her art can be found in both private and museum collections and has been shown at the Xe Triennale Internationale des Mini-Textiles (France), Quilt National, and Fiber Art International. It has also been published in numerous art publications such as Exploring Art Quilts, Vol 2,where it appeared on the cover accompanied by a feature article.

Gaskins holds a BFA in Graphic Design and an MBA with a concentration in Marketing and Management. She is also a Juried Artist Member in Studio Art Quilt Associates where she previously served on the board of directors.

View additional work by Jayne Bentley Gaskins here.

Beyond the Storm

March 3 – 28, 2026

Hagar Fletcher is a multi-disciplinary artist based in San Miguel de Allende, Mexico, whose work explores the intersection of resilience and reclamation. Through a delicate fusion of embroidery, collage, and recycled materials, she transforms “happy-sad” fragments of life into tactile expressions of hope

View additional work by Hagar Shur Fletcher here