Earthlicker
Clint Bargers & Ellen Khansefid

June 27 - August 15, 2026
3002A Commerce St. Dallas, TX 75226
By appointment

Installation Images

Exhibition Text

Clint Bargers, Another Brick, 2026, acrylic, ceramic, chain, eyelet, grout, plywood

Ellen Khansefid, Cavedweller, 2026, oil on panel, 30 x 40”

Nature of Things is pleased to present Earthlicker, featuring paintings by LA-based Ellen Khansefid and sculptural wall works by Dallas-area-based Clint Bargers, on view from June 27 – August 15, 2026, located at 3002A Commerce St. Dallas, TX 75226.

Clint Bargers (b. 1984, Colorado Springs, CO) lives and works in Irving, Texas. In 2007 he received his BA in Visual Studies from The School of the Art Institute of Chicago. Bargers received an MFA in Sculpture in 2021 from TCU in FT. Worth, Texas. Nasher Sculpture Center in Dallas, Texas awarded Bargers their 2024 artist grant. In 2021 Bargers received the Mercedes Benz emerging artist grant. In 2019 his work was shown in New York’s Proto Gomez gallery in the show Fresh Blood. His work has been shown in Illinois, California, New York, Texas, England and Italy.

Ellen Khansefid (b. 1992, Los Angeles, CA) lives and works in Los Angeles. Working primarily in drawing and painting, Khansefid’s focus resides in figuration, pulling themes from art history and personal experience. She draws reference from printed media and pop culture. She earned a BFA from the Rhode Island School of Design in 2014.

Slow Life
Jamie Sterling Pitt

Jardín
2608 Dunlavy St, Houston, TX 77098
Presented by Nature of Things

August 1 - 30, 2026

Installation Images

Nature of Things is pleased to present Slow Life, an exhibition of paintings, works on paper, and sculpture by Houston-based artist, Jamie Sterling Pitt, opening Saturday, August 1st at Jardin, 2608 Dunlavy St, Houston, TX 77098.

A still life is a marker of a time stopped— the lemon is perennially plump, the flower is suspended, head hanging in wilt. A slow life, then may be measured by the speed of a breeze upon a leaf or a peripatetic pace on a sidewalk.

Jamie Sterling Pitt titled the exhibition Slow Life, as a proposal for living, and a reference to his way of making work in a post-traumatic brain injury life. How radical it is to be slow in a world that is clanging in your ear and tugging at your sleeve, and what better time and place it is to experience the cosmically mundane than in the suspended humidity of Houston in August.

The works in this exhibition were made in Pitt’s garage studio attached to his house in the nearby Montrose neighborhood. The series of paintings in the exhibition are organic tableaus that contain Pitt’s sculptural works and studio objects (books and tools) in arrangement. The meta-still-life (slow life, rather), is a conversation in the consideration of shapes, bodies, and shadows in abstracted realism—the way that Pitt sees after his accident. The surfaces of the paintings are heavily textured, a layer of skin alchemized through charged matter: sawdust off-cast from making sculptures, dried native flowers, “holy” water. The sculptures are pastel planes of shapes, layered into tableau, and quizzical in material (wood? foam?). The shapes and shadows within the works are flattened, but they are not still—they, and his work are slow resilience.

As Mary Oliver gives us in her instructions for living “pay attention, be astonished, tell about it.”