DAN SUTHERLAND What I had
DAN SUTHERLAND What I had MAY 9 – JULY 3, 2026
Dan Sutherland, What I had, Installation View, Moody Gallery, 2026 (All Installation images – Photo Credit: Thomas R. DuBrock)
Moody Gallery is proud to present What I had, an exhibition of recent paintings and drawings by Dan Sutherland. What I had, Sutherland’s seventh solo show at the gallery since 2006, is on view May 9 – June 20, 2026.
Dan Sutherland utilizes visual devices and strategies from a diverse array of art-historical sources, including Medieval Illumination, Analytic Cubism, and Dutch still-life painting. The paintings in this exhibition feature convincing, true-to-life illusionism and dynamic, colorful abstraction. In some compositions, Sutherland weds these two modes to create otherworldly constructions that seem to exist in a state of flux, appearing like transitory windows or portals. In other compositions, Sutherland forgoes illusionism almost entirely, focusing primarily on the colorful, rhythmic elements of abstraction. He often works on irregularly shaped surfaces made of metal or wood. Through a process of responsive painting and revision, Sutherland tunes the painted structure and space to the shape of the support to exaggerate movement and toy with perceived depth and stability. In his achromatic drawings, Sutherland renders scenes with precision and refinement. Though replete with detail and delicately rendered tonal changes, the scenes in his drawings remain playfully inconclusive and elusive, yet imbued with movement, instability, and a sense of transition. The scale and complexity of Sutherland’s paintings and drawings lure the viewer closer, rewarding concentrated viewing.
Dan Sutherland (b. 1966, Dover, New Hampshire) currently lives and works in Austin, Texas. He recently retired from teaching painting and drawing at the Department of Art and Art History at the University of Texas at Austin. He received a Bachelor of Fine Arts degree from James Madison University, Harrisonburg, Virginia in 1988 and a Master of Fine Arts degree from Syracuse University, New York in 1991. Sutherland’s work has been included in exhibitions at the McNay Museum of Art, San Antonio, Texas; McAllen Museum of Art, McAllen, Texas; Galveston Arts Center, Galveston, Texas; Blue Star Art Space, San Antonio, Texas; Diverse Works, Houston, Texas; Metcalf Gallery, Taylor University, Upland, Indiana; Florida State University Museum of Fine Arts, Tallahassee, Florida; Fosdick-Nelson Gallery, Alfred University, Alfred, New York; and The Laholm Drawing Museum, Hasttorget, Sweden. He is also a recipient of an ArtPace Foundation London Studio Program Grant and a Leopold Schepp Foundation Grant.
Dan Sutherland, What I had, Installation View, Moody Gallery, 2026
Dan Sutherland, What I had, Installation View, Moody Gallery, 2026
Dan Sutherland – What I had Exhibition Review by Elliot Penn “What I had,” an exhibition of recent paintings and drawings by Dan Sutherland, opened at Moody Gallery on May 9, 2026. In addition to demonstrating his masterful technical abilities as a painter and ingenuity as a maker of drawings, the twenty-three works on view in this exhibition reflect Sutherland’s deep interest in and knowledge of art history. Sutherland references and melds art historical influences and sources from across centuries, from Jean Siméon Chardin to Alexander Calder and beyond, in an inventive and original manner. At times, particularly in his drawings, Sutherland explicitly appropriates motifs, tropes, and symbols from throughout the history of art. At other times, he more obliquely reveals his sources of inspiration through technique and approach. The results of Sutherlands efforts, a “game” of sorts according to the artist, constitute an unorthodox style that resists norms and simplistic, definitive categorization.
Dan Sutherland, Open Plain, 2025, oil on aluminum, 30” x 31”
Upon entering the gallery, visitors are greeted by Open Plain (2025), an oil on aluminum painting with curved edges, which hangs alone opposite the front door. Open Plain presents a furnished interior scene, a living room with windows, lamp, coffee table, and ceramics. This rationally cohesive interior fractures, fragments, and otherwise morphs into visually confounding blocks of color and patterned shapes. In some parts of the painting, most noticeably along the perimeter, Sutherland incorporates the color of the metal support into the composition. In Open Plain, Sutherland displays his artistic interest in ambiguity and in conveying something mysterious with precision and refinement. Commenting on his artistic process, Sutherland shares, “The paintings are built very organically. I don’t plan them per se, and so they kind of grow… The paintings are painted in layers, sometimes opaque, sometimes transparent, sometimes translucent, and the eventual color is a process of stacking and building.” As for his use of irregularly shaped supports, Sutherland clarifies, “I’m not planning the shape in relation to the image. I have a shape, I make my surfaces, and then I think about an image that I’m going to kind of play with on there…”
Dan Sutherland, All Flames and Crust, 2025, oil on wood, 16 ½” x 12” Dan Sutherland, Mixed Fumes, 2025, oil on wood, 13 ½” x 12” Dan Sutherland, Star Stuffed, 2025, oil on wood, 13 ½” x 12” Dan Sutherland, Calamity Stripe, 2025, oil on wood, 17 ½” x 11 ½”
The paintings in this show can be split into groups according to content and stylistic traits. All Flames and Crust (2025), Mixed Fumes (2025), Calamity Stripe (2025), and Star Stuffed (2025) belong to one group. They hang in a row of nine paintings on the gallery’s main wall. These dynamic paintings, many of which have curved edges, evoke instead of directly describing. For example, in All Flames and Crust, Sutherland evokes the sensation of an all-consuming, fiery explosion. Sutherland forgoes explicit illusionistic elements in All Flames and Crust. Instead, the artist provides an elemental, highly abstracted impression of his subject. Pale pink and yellow bursts and stripes erupt from the center of the composition and transition to rich, warm reds, blues, and purples as they extend outwards. According to the artist, paintings like All Flames and Crust relate to “a history of illuminated manuscripts or ecstatic visions.” Sutherland further explains, “The visions of St. Hildegard would be an example… I’m trying to talk about something large (or) cataclysmic.”
Hildegard von Bingen, "The Universe" from the Scivias, c. 1165, manuscript illumination. (Image Credit: The Yorck Project, 2002)
In Mixed Fumes, Sutherland fills the composition with delicately rendered smoke-like billows. Red and peach structures with jagged edges protrude from the rolling blue and green billows. Star Stuffed, as the title suggests, shows compactly arranged red stars with triangular points. This cluster of stars is outlined by a band of blue on three sides. The stars pucker and fold like buttons on upholstered furniture. Lastly, Calamity Stripe presents a cinematic, dynamic, bird’s-eye perspective of an abyss-like structure. Without revealing the scene definitively, without describing a canyon or chasm from nature, Sutherland conveys immense depth and space in Calamity Stripe. Nor does Sutherland rely on atmospheric painterly effects or immense scale to convey depth. Rather, through a process of responsive painting and revision, Sutherland utilizes both bold color relationships and the wonky shape of the painting to exaggerate and toy with perceived depth.
Dan Sutherland, Hanging Fruit, 2025, oil on wood, 13 ½” x 12” Dan Sutherland, Overt Lean, 2025, oil on aluminum, 40” x 39 ½”
Hanging Fruit (2025), Looking Out Looking In (2025), Quadrant Growth (2025), and Overt Lean (2025) constitute the second group, which is defined by a preoccupation with the visuals of the traditional still life genre. Sutherland conceives of these works as “abstractions masquerading as still lifes.” In these four paintings, Sutherland depicts foliage and flower-like forms. Allusions to vases appear in three of the four paintings. Artist Daniel Dove, commenting on related works by Sutherland, remarked in 2007, “It’s as if Sutherland creates subtly new species of flora and accords them behaviors equivalent, but not identical, to the familiar beings of our everyday world. To give these new species a place to grow, he invents strange hybrid spaces, equally built out of sensory experience and the stylizations from painting’s history.” This description still rings true today regarding Hanging Fruit, Looking Out Looking In, Quadrant Growth, and Overt Lean. Furthermore, the influence of Cubism is noticeable in these paintings. However, rather than depicting the visual information of a motif or scene from multiple vantage points to more fully or wholly express his perception of the subject as it exists in three-dimensions, revealing the totality of a subject by overcoming a singular perspective, Sutherland employs fragmented perspectives and geometric forms to perplex and mystify.
Dan Sutherland, I lit, 2025, oil on aluminum, 60” x 48” Dan Sutherland, Cozy Through, 2025, oil on wood, 11 ½” x 15”
Open Plain, I lit (2025), Cozy Through (2025), and Sideboard Potent (2025) compose the third and final group of paintings in this show. According to Sutherland, in these works, “I’m integrating things that don’t belong together in the painting. And then, I hope, as you look at it, they become less and less possible as spaces to inhabit.” In I lit, Sutherland juxtaposes and interweaves various scenes, patterns, shapes, and spaces in a collage-like fashion. Like Open Plain, I lit presents an otherworldly construction that seems to exist in a state of flux, appearing like a transitory window or portal. The realistic interior scene on the left side of the compositions, which features a framed painting based on William-Adolphe Bouguereau’s Alma Parens (1883), transforms into geometric blocks of color, elaborate patterns, and carefully blended tonal transitions. Apart from Open Plain, the scenes of these paintings are rendered in an atmospheric haze, which adds to their mystery and allure. This atmospheric, dreamlike haze pervades the interior shown in Cozy Through, creating a sense of distance or unreachability between the viewer and the scene. In addition to a single wall with nine small drawings, two monumental drawings are included in “What I had.” They hang opposite one another on the end walls of the gallery, providing ample space for both close and distant viewing. From afar, these two tonal drawings, entitled Collection Trap and Dream Table in Part, have a sleek, refined appearance. However, up-close, Sutherland’s energetic hand is unmistakable, as is his collage-like, three-dimensional way of combining pieces of paper. In contrast to his paintings, Sutherland’s drawings, especially those he collaged together, feel fragmentary, akin in effect to viewing a single piece of a jigsaw puzzle or a sherd of decorated ancient pottery.
Dan Sutherland, Dream Table in Part, 2026, graphite on paper, 67” x 53”
Dan Sutherland, Collection Trap, 2026, graphite on paper, 48” x 40”
In Collection Trap, Sutherland again presents an interior, this time a study. This study is packed with objects, a chandelier, books, artworks, and more. Calder-esque mobiles hang from the ceiling and framed paintings adorn the wall. Among these paintings is a still life that mimics the style of Giorgio Morandi. Small sculptures by Alberto Giacometti are displayed in the bookshelf. Collection Trap contains many historical quotations sourced from a diverse array of artists, from Pablo Picasso to Jan van Eyck. Even the lone female figure, whose partial reflection is shown in a mirror, is sourced from art history. However, rather than relating to a post-modern, tongue-in-cheek brand of appropriation, Sutherland’s use of quotations harkens back to the collaboration between Brueghel the Elder and Peter Paul Ruebens, as well as the painters of salon halls overfilled with paintings in gilded frames. However, Collection Trap is not imbued with allegorical meaning or overt symbolism. Rather, Collection Trap demands that the viewer engage with its contents, to try to figure out what they amount to or suggest. Having established that Sutherland’s style probes the relationship between abstraction and illusionism, as well as weds modernist and pre-modernist art historical traditions, techniques, and imagery, it is tempting to want to assign a label to his style. However, no combination of terms or hyphenated word seems capable of accurately capturing the nature of Sutherland’s current painting and drawing, so filled with contradictions and imbued with ambiguity. Perhaps, it is this web of contradictions, the push and pull between abstract, organic, illusionistic, flat, and geometric, that defines Sutherland’s style. As for the visitor’s experience, studying the artworks on view in “What I had” is an engrossing and perplexing undertaking. If you are open to ambiguity, uncertainty, and being left with more questions than answers, “What I had” is a feast for the eyes and the mind.
Dan Sutherland, I lit, 2025, oil on aluminum, 60” x 48”
Dan Sutherland, Open Plain, 2025, oil on aluminum, 30” x 31”
Dan Sutherland, Looking Out Looking In, 2025, oil on paper on wood, 51” x 38”
Dan Sutherland, Overt Lean, 2025, oil on aluminum, 40” x 39 ½”
Dan Sutherland, Quadrant Growth, 2025, oil on wood, 21 ½” x 18 ½”
Dan Sutherland, Hanging Fruit, 2025, oil on wood, 13 ½” x 12”
Dan Sutherland, Mixed Fumes, 2025, oil on wood, 13 ½” x 12”
Dan Sutherland, All Flames and Crust, 2025, oil on wood, 16 ½” x 12”
Dan Sutherland, Star Stuffed, 2025, oil on wood, 13 ½” x 12”
Dan Sutherland, Calamity Stripe, 2025, oil on wood, 17 ½” x 11 ½”
Dan Sutherland, Sideboard Portent, 2025, oil on wood, 12” x 10 ½”
Dan Sutherland, Cozy Through, 2025, oil on wood, 11 ½” x 15 ½”
Dan Sutherland, Dream Table in Part, 2026, graphite on collaged paper, 67” x 53”
Dan Sutherland, Light I had, 2026, graphite on collaged paper, 21 ½” x 16”
Dan Sutherland, Collection Trap, 2026, graphite on collaged paper, 48” x 40”
Dan Sutherland, Modest Collapse, 2025, graphite on paper, 11 ¼” x 8 ¼”
Dan Sutherland, Topped Glow, 2025, graphite on paper, 11 ½” x 8”
Dan Sutherland, On offer, 2025, graphite on paper, 11 ¾” x 8”
Dan Sutherland, Live Corner, 2025, graphite on paper, 11 ¾” x 8”
Dan Sutherland, Not My Pile, 2025, graphite on paper, 11 ¾” x 8 ¼”
Dan Sutherland, Bilateral Landslide, 2025, graphite on paper, 11 ¾” x 8 ¼”
Dan Sutherland, Pennant Clap, 2025, graphite on paper, 10 ¼” x 7 ½”
Dan Sutherland, Not My Tomb, 2025, graphite on paper, 7 ¾” x 5 ¾”
Dan Sutherland, What I had, Installation View, Moody Gallery, 2026
Dan Sutherland, What I had, Installation View, Moody Gallery, 2026
Dan Sutherland, What I had, Installation View, Moody Gallery, 2026
DAN SUTHERLAND
Born:
Dover, New Hampshire, 1966 Currently lives and works in Austin, TX
Education 1991 1988
Syracuse University, Syracuse, NY, Master of Fine Arts, Painting James Madison University, Harrisonburg, VA, Bachelor of Fine Arts, Painting and Drawing
Solo and Two-Person Exhibitions 2026 2025 2022 2019 2017 2015 2014 2011 2010 2007 2006 2002 2001
1999 1994
“What I had”, Moody Gallery, Houston, TX “Fragile Intervals”, The Painting Center, New York, NY “My Father’s Desk”, Moody Gallery, Houston, TX “rift”, Moody Gallery, Houston, TX “peat”, Moody Gallery, Houston, TX “Art Walk West”, (pop up space), Dallas, TX, two-person exhibition “Seem”, Moody Gallery, Houston, TX “Vast Hedge / Vestige”, The Courtyard Gallery at the AT&T Executive and Conference Center, University of Texas, Austin, TX “Headlands”, Moody Gallery, Houston, TX “Plastic Paradise”, Cactus Bra Gallery, Blue Star Art Complex, San Antonio, TX “Plastic Harvest”, Moody Gallery, Houston, TX Two-person exhibition, Susan Cummins Gallery, Mill Valley, CA “Dan Sutherland, Drawings 1991-2001”, McAllen International Museum, McAllen, TX, Curated by Lyle Williams “Dan Sutherland, Drawings 1991-2001”, Galveston Art Center, Galveston, TX, Curated by Lyle Williams “Dan Sutherland, Drawings 1991-2001”, McNay Museum of Art, San Antonio, TX, Curated by Lyle Williams, Traveling Exhibition “Apogee”, Tarrytown Gallery, Austin, TX, two-person exhibition “Resulting Empty Wish”, Davidson College, Davidson, NC “Delicate Aperitif”, Milagros Contemporary Art Gallery, San Antonio, TX, two-person exhibition
Selected Group Exhibitions 2025 2024-25 2016
2015-16 2015
2014
“50th Anniversary Exhibition, Part I”, Moody Gallery, Houston, TX “Irrationally Speaking: Collage & Assemblage in Contemporary Art”, Linda Pace Foundation, Ruby City, San Antonio, TX “Staycation”, Mass Gallery, Austin, TX “Traded”, Lawndale Art Center, Houston, TX, Curated by James Scheuren "Twenty-Five: A Conclusion", Galveston Arts Center, Galveston, TX, Curated by Clint Willour ”40th Anniversary Exhibition”, Moody Gallery, Houston, TX “Australia: Spring 1883” (Art Fair), Sydney, Australia, Dutton Gallery “Prime Matter: 102 artists from USA and Europe”, The Laholm Drawing Museum, Hasttorget, Sweden, Curated by Zoe Pettijohn Schade, Christopher Schade, Madlen Herrstrom (catalogue) “Prime Matter”, Brooklyn, NY, Curated by Christopher Schade and Zoe Pettijohn Schade. “Art Market Hamptons”, (Art Fair), Bridgehampton, NY, Dutton Gallery,
2013
2012
2011
2010
2009 2008
2007 2006 2005
2004 2003
2002 2001 2000
1998
“Texas Contemporary” (Art Fair), Houston, TX, Dutton Gallery, Moody Gallery, “Cross Currents in Contemporary Abstraction”, Metcalf Gallery, Taylor University, Upland, IN (catalogue) “A Catalog”, Tiny Park Gallery, Austin, TX “Texas Contemporary”, (Art Fair), Houston, TX, Dutton Gallery, Moody Gallery “The Big Show”, Silas Marder Gallery, Bridgehampton, NY “Saturation Point” (with Maria Walker, Josh Dihle, and Amy Brener), Dutton Gallery, New York, NY “Dallas Art Fair”, Dallas, TX, Moody Gallery “Break it Down” (with Brad Tucker, Bethany Johnson, and Ben Brandt), Dutton Gallery, (pop up space), Austin, TX “Untitled”, (Art Fair), Miami, FL, Dutton Gallery, Curated by Omar Lopez-Chahoud “X-Centric”, Geoffrey Young Gallery, Great Barrington, MA “Texas Contemporary”, (Art Fair), Houston, TX, Moody Gallery “Speaker” Artist Lecture Series (ALS) Group exhibition, Brooklyn, NY, Curated by Zoe Pettibon and Christopher Schade “The State of Drawing”, The Gallery at UTA, Arlington, TX, Curated by Benito Huerta “From Life”, Curator Zoe Zoe Pettibon and Christopher Schade, Radiator Gallery, Long Island, NY (catalogue). “New Works on Paper”, David Shelton Gallery, San Antonio, TX “Dallas Art Fair”, Dallas, TX, Moody Gallery “Collage”, Bank of America, Houston, TX, Organized by Kinzelman Art Consulting “Magnetic Fields”, Southwest School of Art, San Antonio, TX, Curated by Constance Lowe “Houston Fine Art Fair”, Houston, TX, Moody Gallery “Texas Contemporary”, (Art Fair), Houston, TX, Moody Gallery, David Shelton Gallery “Dallas Art Fair”, Dallas, TX, Moody Gallery “Works on Paper”, David Shelton Gallery, San Antonio, TX David Shelton Gallery, San Antonio, TX “35 Years: Anniversary Exhibition”, Moody Gallery, Houston, TX “Art and Nature”, Austin Museum of Art Laguna Gloria, Austin, TX “Multiples”, David Shelton Gallery, San Antonio, TX “Fleeting”, Williams Tower Gallery, Houston, TX, Curated by Sally Sprout “Atelier, Selections from the Department of Art and Art History Faculty at The University of Texas Austin”, Blanton Museum of Art, Austin, TX, Curated by James Elaine (catalogue) “More is More: Maximalist Tendencies in Recent American Painting”, Florida State University Museum of Fine Arts, Tallahassee, FL (catalogue) “Ornament Now”, Fosdick-Nelson Gallery, Alfred University, Alfred, NY Conduit Gallery, Dallas, TX 511 Gallery, New York, NY Blue Star Art Space, San Antonio, TX “Summer Pleasures”, Mark Moore Gallery, Los Angeles, CA Concordia University, Austin, TX Williams Tower, Houston, TX, Curated by Sally Sprout “Lightshow”, Clocktower Properties, Brooklyn, NY Greenwood Chibethes Gallery, Laguna Beach, CA "In through the Outlines", Kipp Gallery, Indiana University of Pennsylvania, PA New York Print Fair, Richard Reed Armstrong Fine Art, NY Cleveland Fine Print Fair, Richard Reed Armstrong Fine Art, Cleveland, OH “McNay Art Fair”, McNay Museum of Art, San Antonio, TX Susan Cummins Gallery, Mill Valley, CA “McNay Art Fair” McNay Museum of Art, San Antonio, TX Davis Gallery, Austin, TX “Three From Texas”, Ithaca College, Ithaca, NY, Curated by Joe Daun “Three From Texas”, Fosdick-Nelson Gallery, Alfred University, Alfred, NY, Curated by Joe Daun
1997
1996
1995 1994
1993 1992 1991 1990
Tarrytown Gallery, Austin, TX Concordia University, Austin, TX “Pinned to the Wall”, Parchman Stremmel Gallery, San Antonio, TX Three-person exhibition, Slover McCutcheon Gallery, Houston, TX Three-person exhibition, Milagros Contemporary Art, San Antonio, TX “Heart of the Art,” Parchman Stremmel Galleries, San Antonio, TX “Woodworks,” Galveston Art Center, Galveston, TX “Gallery Artists”, Milagros Contemporary Art, San Antonio, TX, “Contemporary Works on Paper”, McNay Museum of Art, San Antonio TX, Curated by Lyle Williams “Working Drawings”, Group Show, San Antonio College, San Antonio, TX “Drawing Crossing the Line”, Diverse Works, Houston, TX, Curated by Bernard Brunon (catalogue) Milagros Contemporary Art, San Antonio, TX “Those Who Can, Teach”, UT Studio Art Faculty, Meredith Long Gallery, Houston, TX Milagros Contemporary Art Gallery, San Antonio, TX “Blue Star/Red Dot", Invitational Auction, Blue Star Art Space, San Antonio, TX Milagros Contemporary Art Gallery, San Antonio, TX “Blue Star 7 + 7”, Blue Star Art Space, San Antonio, TX World Tattoo Gallery, Chicago, IL World Tattoo Gallery, Chicago, IL “Summer 1990 Group Exhibition”, Janet Fleisher Gallery, Philadelphia, PA “The Cold House Group and Other Emerging Artists”, World Tattoo Gallery, Chicago, IL
Grants 2016 2006 2003 1997 1994 1993-94 1988-90
Deans Fellowship, University of Texas, Austin, TX Faculty Research Award, University of Texas, Austin, TX College of Fine Arts, Summer Research Grant, University of Texas, Austin, TX Foxworth Fellowship, University of Texas, Austin, TX The ArtPace Foundation for Contemporary Art, London Studio Program Grant San Antonio, TX City of San Antonio Department of Arts and Cultural Affairs Grant Leopold Schepp Foundation Grant
Selected Collections Museum of Fine Arts, Houston, TX The Linda Pace Foundation, San Antonio, TX Frost Bank, San Antonio, TX Arkansas Art Center, Little Rock, AK The Law Offices of Matthews and Branscomb, San Antonio, TX G2 Design, San Antonio, TX James Madison University Print Collection, Harrisonburg, VA UT MD Anderson Cancer Center, Houston, TX Invitational Lectures 2016 2015 2014 2013 2012
California State University, Long Beach, CA St. Edwards University, Austin, TX Texas State University, San Marcos University Southwestern University, Georgetown TX Syracuse University, Syracuse NY Artist Lecture Series, Green Point, NY San Antonio Community College, San Antonio, TX Colorado State University, Fort Collins, CO
2011 2006 2004 2002 2001
1999 1998 1995
Southwest School, San Antonio, TX, April, 2011, “Magnetic Fields” exhibition Clemson University, Clemson, SC North Texas State University, Denton, TX South Western University, Georgetown, TX Kansas State University, Wichita, KS Stephen F. Austin University, Nacogdoches, TX, Slide lecture and critique with advanced painters “Two to Watch Lecture Series”, Slide lectures and discussions, Joint Project, Art Pace, Austin, TX and Austin Museum of Art, Austin, TX Arizona State University, Phoenix, AZ, Visiting Lecture Series University of Texas San Antonio, San Antonio, TX, Slide Lecture Graduate Painting Seminar “Three From Texas,” Alfred University, Alfred, NY “Icons Personal and Cultural”, Contemporary Artists Dialogue Series, San Antonio Museum of Art, San Antonio, TX Maryland Art Institute, Baltimore, MD, Slide Lecture
Teaching University of Texas at Austin, Department of Art and Art History Associate Professor, 2002-2024 Associate Chair, 2011-2012 Assistant Chair, Studio Division, 2007-2011 Assistant Professor, 1995-2002 Lecturer, 1991-1995 Syracuse University Assistant Instructor, 1988-1991
DAN SUTHERLAND What I had MAY 9 – JULY 3, 2026
2815 COLQUITT HOUTSON, TEXAS 77098 713-526-9911 info@moodygallery.com moodygallery.com