Carter Burden Gallery presents three exhibitions: Shapeshifter, the first exhibition with the gallery for Paulette Esrig, George Goodridge, and Daniel Pailes-Friedman, explores movement, transformation, and the expressive potential of form in space; Memories of Colors and Shapes in the West Gallery features colorful, nature-inspired monotypes by Robin Seligman-Schmidt; and Tree Line, an installation by Joy Nagy, is presented in the space On the Wall. The reception will be on Thursday, April 23 from 6pm to 8pm. The exhibitions run from May 28-June 23, 2026, at 548 West 28th Street in New York City. The gallery hours are Tuesday - Friday, 11 am - 5 pm, Saturday 11 am - 6 pm.

Through the application of dynamism, form, and spatial perception across three distinct artistic practices, Shapeshifter unites the work of Paulette Esrig, George Goodridge, and Daniel Pailes-Friedman. Paulette Esrig’s white ceramic sculptures, with titles such as I Still Dream I’m Dancing, evoke the energy and movement of Futurism through abstract forms that appear to twist, sway, and unfold in space. George Goodridge’s three-dimensional paintings are created using canvas smoothly stretched over armatures to form abstract shapes that extend into the viewer’s space. Drawing upon sacred geometry, color theory, and form signaling, his work examines the emotional and psychological responses elicited by shape and color. Daniel Pailes-Friedman’s geometric oil paintings similarly investigate the relationship between form and space, constructing undulating fields of color that balance fullness and emptiness, positive and negative space. As the artist describes, he seeks to create “compositions where forms can breathe—where space is as vital as shape—bringing fluidity and balance to the piece.” Though realized through entirely different materials and processes, the works in Shapeshifter share a commitment to movement, transformation, and the expressive potential of form in space.

In Memories of Colors and Shapes, Robin Seligman-Schmidt presents abstract works inspired by nature and the visual rhythms of the world around her. Responding to the interplay of line, shape, and color, she explores how these elements create movement, spatial relationships, and emotional resonance within her compositions. Her printmaking process often begins with shapes cut from craft foam, derived from organic forms and developed through multiple iterations from preliminary newsprint studies into finished monotypes layered with texture and transparency. Having worked for many years primarily in watercolor, Seligman-Schmidt has more recently embraced monotype printmaking, finding interest in the distinct yet complementary transparencies and luminous qualities shared by both mediums.

Tree Line, an installation by Joy Nagy in the space On the Wall, is a visual study of trees rendered in graphite on paper. Measuring six feet in height, each work stands at human scale, transforming the wall into a forest of upright forms that evoke a sense of standing amongst a crowd. Each portrait conveys the tenacity, strength, and quiet power of this enduring species while drawing subtle parallels to the human form. Trunks, branches, scars, and textures echo anatomical features, like spines, limbs, and skin, suggesting a relationship between humanity and the natural world. Nagy’s practice is rooted in personal history, lived experience, and an ongoing engagement with nature. Family narratives, memory, and observation shape her approach, allowing each endeavor to emerge from both emotional and material inquiry. Working across drawing, painting, ceramics, installation, audio, and assemblage, Nagy selects her media based on what best serves each project. In Tree Line, graphite becomes both tool and metaphor, capable of expressing delicacy and density, fragility and permanence.