After Hours (SOLD)
22" x 10"
Oil On Panel
ATM Portrait (SOLD)
8" x 6"
Oil On Wood
Butterflies (SOLD)
12″ x 10″
Oil On Panel
Cash 4 Junk (SOLD)
14″ x 18″
Oil On Panel
C.R.E.A.M. (SOLD)
18" x 14"
Oil On Wood
E for Eat (SOLD)
8" x 10"
Oil On Panel
Faces Of Philadelphia (SOLD)
12" x 12"
Oil On Panel
Good Neighbor (SOLD)
10" x 12"
Oil On Panel
I Spy (SOLD)
12” x 12”
Oil On Panel
Now Hiring (SOLD)
10" x 8"
Oil On Panel
Penmanship (SOLD)
12” x 9”
Oil On Panel
Propane & Propane Accessories (SOLD)
7" x 10"
Oil On Panel
The Future Is Here (SOLD)
4" x 4"
Oil On Panel
Tour Guide (SOLD)
14″ x 11″
Oil On Panel
Underpass (SOLD)
10" x 10"
Gouache On Paper
We Outside (SOLD)
20" x 20"
Oil On Panel
Where the Sidewalk Ends (SOLD)
16" x 16"
Oil On Panel
What's Your Vice? (SOLD)
12" x 10"
Gouache On Paper
Witching Hour (SOLD)
6" x 6"
Oil On Panel
Faces Of London 01 (SOLD)
6" x 7.5"
Gouache
Faces Of Frederick (SOLD)
7" x 5"
Oil On Panel
"I am a person who walks down the street looking at the brick and mortar, the markings on the wall, the trash on the ground wondering about its story. My practice starts with the world around me; guided by the happenstance moments that you would miss if you blink just once."
- Nasir Young
Expired, 30" x 24", Oil on canvas
"I am a person who walks down the street looking at the brick and mortar, the markings on the wall, the trash on the ground wondering about its story. My practice starts with the world around me; guided by the happenstance moments that you would miss if you blink just once. I document the small wonders. These range from shadows dancing around objects, to visual clutter that tells a story. These may sit in my sketchbooks for months or years before it is time to use them. Every page of these books evokes memories of moments capturing a story that viewers often can relate too, and brings out a sense of Déjà vu of their own story. When I go to bring these creations to life I use observation, studying the tiniest details of information that could be easily overlooked. My landscapes and buildings are my characters with figures as supporting props, often depicting a drama and story with no figure ever being present."
Nasir Young (b. 1995, Philadelphia, PA) received his BFA from the Pennsylvania Academy of the Fine Arts in 2021 and his MFA from the University of Delaware (2026). He is represented by Gross McCleaf Gallery in Philadelphia, where he has had solo exhibitions in 2024, and 2025. Young's work has been included in exhibitions at Uffner & Liu, New York, NY (2025); Automat, Philadelphia, PA (2025); Fleisher/Ollman Gallery, Philadelphia, PA (2025); Scroll, New York, NY (2025); and Gross McCleaf Gallery, Philadelphia, PA (2023). Young is the recipient of numerous awards and grants, including a 2024 Elizabeth Greenshields Foundation Grant, the Raymond D. & Estelle Rubens Travel Scholarship, Illuminate Arts Grants (2021, 2022), The Louis & Estelle Pearson Memorial Prize for Landscape with Figures, the Catherine Grant Memorial Prize from the Pennsylvania Academy of the Fine Arts, and he was the Second place winner of the Philadelphia Sketch Club 158th exhibition of small oils. He was a 2022 Da Vinci Art Alliance Resident and a 2023 Delaware Contemporary Resident. His work is included in the permanent collection of The Fellowship of the Pennsylvania Academy of the Fine Arts.
Another Man's Trash, 12" x 12", Oil on panel
With his recent travels, Young expands his visual language beyond the streetscapes of Philadelphia, drawing from recent travels across the country to explore how built environments, no matter how culturally distinct, carry shared codes of belonging and memory. Young notes, “I’m using the same principles of finding an image but expanding the conversation. There is an ability to read a landscape you've never been in and find belonging.”
Young’s process is one of accumulation. Observation, intuition, and material culture converge in his practice, where found imagery, street ephemera, signage, and windows are stitched into quiet, open-ended narratives. “I’ve always enjoyed hiding elements in paintings that only friends would search for, like an Easter egg.” Young explains. “My works exist to show what was in plain sight all along.” Young also introduces a new series of small-format works rooted in his graduate studies in material culture. Spare and observational, these ‘minis’ isolate a single object— a traffic cone, a newspaper stand, a Japanese Gundam action figure—imbued with quiet familiarity. “They are from paintings I’ve already made, want to make, or will never make,” Young notes. Though modest in scale, these works offer entry into his broader world of recurring motifs and visual cues. “An important part of my practice has always been observation. My camera roll currently has 15,862 photos: some don’t have enough interesting information to justify their own paintings, some demand I stop what I'm working on and paint them now, and every variation in between.”
Drawing from everyday scenes of urban life, Young’s paintings explore the shared visual language of the built environment. Through observations gathered while traveling, skateboarding, and moving through cities, he examines the unexpected connections between storefronts, gas stations, parking lots, rowhouses, and other commonplace structures that shape collective experience.
Elizabeth Johnson: Is revealing imagination, for you, also a form of concealment?...The Faces of Philly series seems more reductionist, leaning into shape, line, and symbol. Is this a new desire to depict South Philly more simply?
Nasir Young: Concealing and revealing are important to me. I’ve always enjoyed hiding elements in paintings that only friends would search for, like an Easter egg. My works exist to show what was in plain sight all along. I feel like people don’t realize how much they actually see, because their day-to-day life takes so much precedence. I think the Faces of series, that uses places and cities interchangeably, will be a continuous project; it started when I was staying in London, oddly enough, and it only felt right to get some Philly facades in there too. I think about buildings as having faces that express their lives and experiences just like people. Painted brick, decaying brick, and new brick all say very different things while still being brick.
Nicole Parker: How Sad, How Lovely
Gross McCleaf Gallery is pleased to present How Sad, How Lovely, a solo exhibition of new paintings by Nicole Parker. An accomplished intaglio printmaker and intuitive colorist, Parker brings a quiet intensity to her paintings, where perception, memory, and emotion are distilled into delicate calibrations of light, air, and atmosphere.
Nasir Young: In Plain Sight
Gross McCleaf Gallery is pleased to present In Plain Sight, a solo exhibition of new paintings by Nasir Young. With this body of work, Young expands his visual language beyond the streetscapes of Philadelphia, drawing from recent travels across the country to explore how built environments—no matter how culturally distinct—carry shared codes of belonging and memory.
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“Live in each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influence of the earth.”
– Henry David Thoreau
Gross McCleaf Gallery invites you to experience the magic of summer with a group exhibition titled Summer Playlist. Curated like a finely tuned mixtape, this vibrant selection of works explores seasonal themes of celebration, relaxation, and engagement with nature.
Elizabeth Johnson: Faces of London #2 and Beauty Salon play with the pattern of the bricks by eliminating some dividing lines, softening the frontal, flatter, squarer quality of those two paintings. Smudgy areas summon a tactile response that balances the use of line for both rendering and texture. You seem to really love drawing lines. Do you use a ruler, or do you have a super-steady hand?
Nasir Young: I’m going to be honest. It’s a cruel addiction: it’s all done freehand, with the occasional drawn line over the painting. Anytime I’ve tried using tape or rulers, I end up redoing the section. I can see the imperfections, so I wouldn’t call my own hands super steady. But it matches the believable space I’m building out. If the lines were perfect, it would highlight the areas that aren’t technically accurate or exaggerated. Ultimately, I’m chasing my own satisfaction in my work...
“When I choose a subject for plein air, I am responding to an immediate connection with a certain landscape at a certain time of day at a certain season. And by some mysterious alchemy my heart leaps. This stab of joy includes an element of longing and eventual loss that makes it more poignant: a realization of the universal truth ‘This too shall pass’...”
- Ann Lofquist
Gross McCleaf is delighted to present a new series of landscape paintings by Ann Lofquist in Passing Observations. Lofquist’s remarkable skill and eye for detail, beauty and serenity are on full display in this new collection of both small-scale plein air paintings, and larger studio works.
“My work seeks to find throughlines from the ancient past to present to future. I want to know how things change through time and how they stay the same.”
- Morgan Hobbs
Gross McCleaf Gallery is pleased to present Chronolith, Morgan Hobbs’ first solo exhibition in Philadelphia and with the gallery.
Guest writer Lauren Whearty says: “Hobbs’ body of work focuses on the slow and methodical process of building a language - a new form of communication through paint, papier-mâché, and image. Each symbolic form is a building block for a wide array of possibilities with the potential to make new meaning through different combinations, or to break down the strength of an individual symbol into a more democratic piece of a larger whole.
Gross McCleaf Gallery is pleased to present Stuart Netsky’s rich digital paintings and colorful sculptural assemblages in Walking Backward into the Future. Here, Netsky continues his innovative exploration of materials and themes well known from his seminal 1992 ICA exhibition, Time Flies. This earlier work, created during the height of the HIV/AIDS epidemic, courageously explored the intersections of the HIV/AIDS epidemic with contemporary domestic life, popular culture, and Western art history. During Netsky’s retrospective in 2006, Rosenwald Wolf Gallery Curator Sid Sachs described Netsky as having a practice that, “operates at the nexus of social representation and sculpture, sexual cliché, and self-presentation. Echoing a variety of historical styles such as Pop Art, Pattern and Decoration, and color field, Netsky retains a crisp classical sense of craft and sense of humor that is deadly serious.” His latest work is no exception as Netsky continues with a clear-eyed honesty and queer sensibility.
Spontaneous bursts of gestural expression meet carefully planned and executed drafting in Val Rossman’s new body of abstract works. Unexpected Interference features two varieties of exploration from Rossman’s multi-faceted painting practice of layered geometric compositions and energetically marked, achromatic configurations. Each variation of Rossman’s approach combines elements of chance and moments of orchestration, both of which are fundamental to her pursuits. Rossman finds her works to be analogous to life’s common challenges, and it is in the tension created by these opposing strategies where Rossman’s work flourishes and meaning is found...
