Agate 5, 2025

Junk Mail, Used Paper

61h x 42w inches

Agate 6, 2025

Junk Mail, Used Paper

59h x 42w inches

Agate 3, 2025

Junk Mail, Used Paper

72h x 56w inches

Fault 6, 2025

Acrylic on Canvas

62h x 40w inches

My work is an inquiry into materiality: what makes up the objects that surround us as well as the composition of the natural world. I am interested in how parts combine to create a whole and the intricacies of shape and texture found in the world on every scale. In treating everyday objects as raw material to sculpt, I practice a form of conceptual alchemy: through physically manipulating these objects their meanings become transmuted. Each piece is a direct response to material—a subversion of the meanings associated with it, and a reference to the life cycle of objects through time.

For each of my previous six shows with Galleri Urbane I have presented variety: work from several different series and made from a variety of materials. Elemental Form focuses on the depth I have found within a single series: Aggregate. Made of used paper glued together in layers, the Aggregate pieces evoke striated rocks and geologic formations created over millions of years - a time scale in direct contrast to our momentary relationship with junk mail. I have been working in this medium since 2020 but in the past year these works have gained a sense of movement: some feel folded and crushed, while others seem frozen in the act of liquid movement. The title Elemental Force captures the underlying energy of these works and the forces of layering, compression, and erosion which I emulate in my own material transformations.

Jessica Drenk’s work can be found in private collections throughout the world and galleries across the United States. Her work is a part of several corporate collections, such as that of Fidelity Investments, Frost Bank, and The Macallan distillery inScotland, as well as university collections, including that of the Yale University Art Gallery. Drenk has been the recipient of several awards, including International Sculpture Center’s Outstanding Student Achievement in Contemporary Sculpture Award, and her work has been pictured in Sculpture and Interior Design magazines, as well as The Workshop Guide to Ceramics. Drenk received an MFA in 3D Art from the University of Arizona in 2007 and a bachelor’s degree from Pomona College in 2002. She lives and works in the countryside outside of Rochester, New York.

Detail of above

Detail of above

My work is an exploration of self preservation and identity, rooted deeply in my Pakistani and Islamic heritage using hand embroidery on wood to root botanical forms within traditions of textile and ornamentation. Drawing from the rich visual language of South Asian textile heritage - particularly Phulkari and Baagh embroidery - I reinterpret these motifs through meticulous threadwork on rigid surfaces, creating dialogue between softness and structure, ephemerality and permanence. Embedded in each piece is a deep sense of nostalgia - an emotional pull towards ancestor memory, inherited craft and visual codes of my cultural upbringing. Embroider for me is not only a form of mark making but a ritual of remembrance. The slow, repetitive act of stitching evokes rhythms of storytelling, textile - making and intergenerational knowledge passed through hands rather than words. Through botanical forms and saturated threads, I map landscapes of longing for home, for language for continuity in diaspora.

Nosheen Iqbal was born in Surrey, England, and moved to Texas in her mid-teens. She earned a BFA in Communication Design from the University of North Texas, where she received the Outstanding Portfolio Award. Following graduation, she spent over a decade at Fossil, progressing through roles in design, art direction, and ultimately becoming a lead watch designer. During this time, she contributed to brands such as DKNY, Armani Exchange, Opening Ceremony, and Michaels. Today, Nosheen is a multidisciplinary artist, working in product design and development while continuing her personal art practice. Nosheen’s Pakistani heritage deeply influences her artistic vision, particularly in her use of color, pattern, and texture. She draws inspiration from Pakistan’s rich history of pigment dyeing and embroidery techniques, which vary across provinces and trace back to the Mughal Empire. Her work is also shaped by the intricate and interwoven patterns found in Islamic art. By blending classical elements with contemporary craft, she invents new forms of design that honor traditional techniques while pushing creative boundaries.

She has collaborated with renowned brands like Hermès to create stunning window installations and has worked with companies including Starbucks, Fossil, Opening Ceremony, Virgin Voyages, and Marriott. In addition to her commercial projects, Nosheen has contributed to charitable initiatives, creating pieces for organizations such as Dwell with Dignity, Amaal USA Scholarship Fund, The Warren Center and The Human League. She was an integral part of Fossil Foundation in helping empower younger generations.

Ice Cream Factory, 2025

Vertical Orientation, Side View

Ice Cream Factory, 2025

Detail View

Ice Cream Factory 1, 2025

Wood, Paint, and Glue

22 x 17 x 1.75 inches

Ice Cream Factory 4, 2025

Wood, Paint, and Glue

22 x 17 x 2 inches

Benjamin Terry’s recent paintings evolved from a temporary installation created inside a dormant ice cream factory built in 1921. The installation responded to the building’s architecture through a 25-foot span of overlapping plywood panels that echoed its brick, tile, concrete, and glass surfaces. The paintings extend that dialogue in a more intimate register. Terry was drawn to the factory’s shifting color dynamics—walls once painted with saturated intensity now muted by dust. The soft haze that dulled bright color into chalky pastels, and the interplay of grays, tans, and faded pigments, find their way into the work.

Grids of tile, brick, and concrete slabs once organized the space, while doorways, windows, and accumulated damage fractured those systems. In the studio, Terry translated those cues into layered compositions that hover between order and erosion. Pattern meets interruption; precision meets wear. Each surface holds traces of both architecture and atmosphere, suggesting a quiet tension between what is built and what breaks down over time. Together, the paintings and installation form a meditation on the slow transformation of place.

Benjamin Terry lives and works in Dallas, TX. He received an MFA in Drawing and Painting from the University of North Texas in 2013. He has exhibited work in numerous solo and group exhibitions both nation wide and internationally including; N.Y, London, Mexico City, San Francisco and Texas. Recent exhibitions include Chateau Show (2024), The Aldredge House, Dallas, Tx; Done Being Cool (2024), Galleri Urbane, Dallas, Tx; and Funny Feeling (2025) Paper Mill Projects, Chatham, N.Y. His artwork has been exhibtited at the Dallas Art Fair, Aspen Art Fair, and Untitled Art, Miami. Terry was an artist-in-resident at The Maple Terrace, Brooklyn, N.Y. 2018; 100 West Corsicana in 2020; PRIXEL, Hudson, N.Y. in 2025; and the Bodecker project at the Cedars Union, Dallas, Tx. Curatorial projects are an integral part of his practice with curated exhibitions at Kirk Hopper Fine Arts, Galleri Urbane, and Texas Woman’s University. Terry was featured in volumes 96 and 132 of New American Paintings, and has received both the Clare Hart Degoyler and the Arch and Anne Giles Kimbrough awards from the Dallas Museum of Art. He is currently a Distinguished Senior Lecturer at the University of Texas, Arlington.