Opening This Weekend:
Douglas Martenson: The Meadow, Encounter
Save the Date • Opening Reception:
Saturday, March 21, 1-4 pm
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Gallery Hours:
Fridays & Saturdays, 11 am – 4 pm, or by appointment.
215-665-8138 / Inquiries: info@grossmccleaf.com
Parking available in The Mill Studios lot via Leverington Avenue
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Orchard Tree, Oil on wood, 20″ x 16″
Douglas Martenson: The Meadow, Encounter
Opening Reception: Saturday, March 21, 1 - 4 pm
March 20 - April 25
Gross McCleaf Gallery is pleased to present The Meadow, Encounter, a new solo exhibition by Douglas Martenson. Working from a meadow he returns to over time, Martenson paints a landscape that is never fixed. It shifts with light, weather, and season, as overgrown fields, orchard edges, and worn paths register both natural change and human presence.
Some works engage the full expanse of the landscape, while others move closer, focusing on particular passages: a row of weeds, a shaded wetland, a change in leaf density or color that might otherwise go unnoticed.
Across the exhibition, Martenson returns to the question of where nature begins and civilization ends. Paths, cultivated land, and traces of human activity remain embedded within the landscape, not separate from it. Each painting holds this tension, offering a view of a place shaped by both forces and still in the process of changing.
Formality, Oil on canvas over panel, 24″ x 18″
Marilyn Holsing: On Longing
February 13 - March 21
Gross McCleaf Gallery is pleased to present On Longing, a new solo exhibition by Marilyn Holsing. In this body of work, Holsing begins each painting with a colored ground of layered hues, building from that base until flora, tendrils, and shadowy environments take shape. Influenced by her work with dioramas and glass cloches, she studies how light reflects, distorts, and obscures, and how a surface can both reveal and conceal what lies within.
Holsing’s recent work grew out of an exploration of bell jars, objects that both protect and confine. In earlier dioramas, she encased sculptural figures within glass vessels, observing how reflections fracture space and alter perception. “Encasing these things in glass highlights their preciousness and their need to be protected from everyday life,” she explains. The paintings extend this investigation, imagining landscapes within containers and testing how interior and exterior space collapse into one another. The cloche becomes both vessel and boundary, a space in which life feels suspended or, in author Susan Stewart’s words, “arrested.” What appears delicate is deliberately set apart and made significant through its detachment.
Explore our curated selection of artworks from current and past exhibitions.
All works listed are available for direct purchase online.
We have moved!
We’re delighted to announce that Gross McCleaf Gallery has relocated to the Manayunk neighborhood of Philadelphia, in The Mill Studios - just off Main Street at the Belmont exit from I-76.
This new location meets the moment in today’s shifting art market while benefiting GMG, our artists, and loyal clients. At its 3rd site in 55 years, Gross McCleaf will continue providing a comfortable, convenient setting to engage with your favorite art & artists and now includes free and easy parking!
I am excited for Gross McCleaf's new phase and look forward to seeing you soon in our new location!
Rebecca Segall
Owner & Director
Gross McCleaf Gallery
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Elizabeth Johnson: ...Your pieces curve forms like the warp created by Photoshop, cameras, and computers. Cézanne broke his subjects into geometric forms to make space. How does your work relate to or differ from his? Does working in continuous curving space like digital images made of billions of bits of information link you to the digital age?
Peter Van Dyck: No, not to the digital age per se. But I do think that painting can be seen as creative information processing. My understanding of Cézanne is that he saw the world through the lens of simplified geometric solids, and I am a hundred percent sympathetic to that way of understanding the physical and visual world. In fact, I find it almost impossible to register any experience without first engaging it in a tactile, volumetric way. It seems to me that Cézanne is not constrained by this need for a dominant, almost tyrannical organizational structure...
