p r o x i m i t y
nearness in space, time, or relationship
May 30-June 28, 2026 12 Campbell Gallery Roanoke Virginia
Kelly Akashi, Jennifer Boyd, Linda Burnham, Sharon Burnham, Linda Daniels, Jack Davidson, Dana Duff, Kristen English, Mark Eischeid, Mary Heilman, Sharon Horvath, Jesse Fleming, Gunther Forg, Steve Kahn, Soo Kim, Imi Knoebel, Curtis Mann, Robert Overby, Katie Paterson, Karl Petrunak, Lari Pittman, Nicole Uros, Miller Robinson, Morgan Satterfield, Frances Stark, Richard Serra, Gary Stephen, Holly Topping, Thomas Trosch, Stephen Westfall, Terry Winters, Karen Yasinsky
Curator’s Statement
As an artist, I have had the privilege of forming connections with many talented artists whose works resonate with me, whether be it a partner, a peer, a student, a teacher, a mentor, a friend, a grandmother, a sister, or an artist’s work I love. Having this proximity to others who are dedicated to the pursuit of one’s passion, can spark inspiration, the lifeblood of art- the spark that ignites the creative process. In the long chain of art history, inspiration is a link connecting one artist to another encouraging us to explore our potential and push boundaries. This adjacency reveals a deeper understanding of who you are [as an artist] and how you understand the world.
A space opens up when someone engages deeply with your work or you engage deeply with theirs. This respect and appreciation fuels creativity, inspires growth, and ignites a unique bond between people- roles models collaborating as they bring their ideas to life. Sharing with fellow artists, nurturing collector-artist connections, seeking guidance from mentors, Art would lack the soul and emotion that makes it truly impactful without inspiration.
Nearness with artists not only allows me to understand my creative process but also enables me to support others artistic journey maturing into a deep appreciation for the artist’s work and a shared passion for art. The 32 artists in this exhibition are only a small part of that connection, however close in proximity.
Linda Burnham 2026
SHARON HORVATH, "Lovelife: Expulsion", 2011, Pigment, ink and polymer on paper on board , 12 1⁄2 x 12 1⁄2 inches
DANA BERMAN DUFF, "Rorschach Monoprint #30 (Filth Blots)", 1990, Filth on paper, 20 x 20 inches (image), 23 x 23 inches (sheet), 23 1⁄2 x 23 1⁄2 inches (frame)
LINDA BURNHAM, "Bump and Grind", 1993, Oil and resin on canvas, 91 1⁄2 x 54 inches
CURTIS MANN, "Checkpoint", 2011, Chemically altered chromogenic development print, 40 3⁄4 x 30 3⁄4 inches (image/window), 48 3⁄4 x 35 3⁄4 inches (frame), Unique print
NICOLE UROS, "Untitled", 2007, Acrylic on canvas, 48 x 48 inches
KARL PETRUNAK, "Rebound", 1996, Oil and applique on canvas on panel, 25 1⁄2 x 26 3⁄4 inches
LINDA DANIELS, "Roses for a White Wall", 1995, Oil on linen over panel, 48 x 24 inches
JACK DAVIDSON, "Yaddo Collage 3", 2016, Painted paper on paper, 59 1⁄2 x 43 1⁄2 inches (image/sheet), 66 x 50 inches (frame)
FRANCES STARK, "Conceited girl wants to know she has a seat (afer Goya)", 2009, Archival pigment print with silkscreen (80/100), 18 1⁄2 x 14 1⁄2 inches (image/sheet), 25 1⁄2 x 21 3⁄4 inches (frame)
HOLLY TOPPING, "Untitled", 1994, Oil and true gesso on panel, 13 3⁄4 x 11 inches, 20 1⁄2 x 17 1⁄2 inches (frame)
THOMAS TROSCH, "Dorothy Roger’s Decorating Lesson #6", 1993, Oil and graphite on linen, 70 x 84 inches
SHARON BURNHAM, "Same | Different", 2026, Twining with waxed linen, Italian spring twine, 9 1⁄2 x 4 x 3 inches on 2 1⁄2 x 5 1/4 x 5 1⁄2 inches wood base (12 x 5 1/4 x 5 1⁄2 inches overall)
SHARON BURNHAM, "Shadow Lines", 2025, Random weave with Japanese honeysuckle, palm inflorescence, spruce root, Northern maidenhair fern, 6 x 8 x 5 inches on 3⁄4 x 5 x 5 inches wood base (6 3⁄4 x 8 x 5 inches overall)