One on One exhibitions

Exhibitions, curated by Bonny Leibowitz are with artists who have worked with her, One on One, developing their body of work and as part of her ArtHeads program. Enjoy the work and writings by these artists below and come to the openings to meet the artists and see additional works. To view pics from previous exhibitions, click here: One on One exhibitions

April Vibrations Curated by Bonny Leibowitz:

Kathy Aldridge, Regina Bos, Stacy Duryea, Lance Leonhirth, Beth Maultsby and Nancy Uline

Saturday, April 4th through Sunday, April 26th, 2026

Opening Reception, Saturday, April 11th - 5pm to 8pm

May Vibrations Curated by Bonny Leibowitz:

Ann Margolin, Melissa Amoros, Sheila Cooper, Carol Haralson, Charles Keenan, Joyce McCulloch and Lisa Moriarty

Saturday, May 2nd through Friday, May 29th, 2026

Opening Reception, Saturday, May 2nd - 5pm to 8pm

Vibrations is an exhibition of works by artists creating in ways that speak to subtle shifts, progressions or iterations in color, scale, meaning or materials while inhabiting a shared space.

To dive into the idea of Vibrations, I asked these artists to make work that might feel like a conversation utilizing a generative approach in whatever ways felt significant to them, tapping into memories, histories or areas of exploration.

Artists are considering topics such as the body or aging, color and water, existence and death, nature, abstraction, movement and landscape. Some of the

many materials these artists use include oils, acrylics, textiles, encaustic, plaster, wire, paper pulp and walnut ink.

Each artist has written a statement on their work - they've written what’s true and significant for them and how that manifests in their work.

Janette Kennedy Gallery

South Side on Lamar

1409 Botham Jean Blvd.#105

Dallas TX 75215

The Janette Kennedy Gallery is located inside of South Side on Lamar and is open daily from 9AM-7PM.

Reach out to Bonny for more info: 214-405-5993

bonny@bonnyleibowitz.com

Find out more about One on Ones with Bonny Leibowitz

Statement

My childhood was lived in a small town in the Texas panhandle surrounded by land that was once a great ocean. Water shaped the expansive area into landforms that are both flat and rugged. Now it’s covered by dusty soil in endless shades of earthy reds, burnt sienna, and yellow ochre. Stretched over the land is a sky of such immensity and brilliance that it overwhelms the vast open land.

As a child, I was aware of the scarcity of water, and its importance was instilled in my young self. This dry ocean bed must have water if it is to be inhabited or for crops and animals to survive. There was excitement when a storm came—the very smell of rain brought joy. The immense blue sky would change to shades of gray and green, and the empty red riverbeds became raging muddy rivers transforming the land with vegetation in shades of emerald, chartreuse, and gold.

Creating abstract art, related to this land, with colors reminiscent of the palette that I experienced as a child connects me to that earlier peaceful time. My work develops as I apply layers of acrylic color and then wash back into the paint, scrubbing into the canvas only to apply successive layers of translucent paint again. This process is repeated many times. I am intrigued by the unpredictability as unique shapes evolve with each wash. It is a peaceful, meditative process as the medium and water combine to create art.

Statement

In my series, Anatomy of Becoming, I explore growth as an internal force that reconfigures and refuses containment.

I layer paper, fiber and encaustic to make forms that examine moments of accumulation and rupture. I consider these forms to be protective casements where pressure gathers and structures shift from within.

These works are a study in gathering, breaking and reaching.

Bio

Regina Bos is a visual artist based in Shelby, North Carolina. Working across hand-dyed textiles, encaustic, paper pulp, plaster, and wire, she creates dimensional forms that explore growth, containment, and transformation.

She earned her Bachelor of Fine Arts from Monmouth University in 2002 and is a recipient of the 2022 and 2024 ASC Artist Support Grant from the North Carolina Arts Council.

Her solo exhibition Folk Tales of the Future was presented at the Gaston County Museum of Art & History in Dallas, North Carolina (2023–2024). In 2024, Bos conceived and co-organized Taking Root at The Bliss Gallery in Belmont, NC, a cross-generational exhibition centered on experimental textile and sculptural work.

Her work has been included in numerous group exhibitions, including ArtFields 2025, Lake City, SC; Gilding the Mint, The Mint Museum, Charlotte, NC; One Plus One Equals, The Umbrella Gallery, Dallas, TX; 25th Annual Handcrafted, Rocky Mount, NC; The New Geologic Epoch, EcoArtSpace, Santa Fe, NM; Emergence, Visionary Art Collective, Brooklyn, NY; A Woven Underworld, The Janette Kennedy Gallery, Dallas, TX; Passage of Time, University of North Carolina at Pembroke, Pembroke, NC; and Monumental Exhibition, The Bristol Art Museum, Bristol, RI.

She is currently preparing for a solo exhibition in Spring 2027 at the Curtis R. Harley Art Gallery at the University of South Carolina Upstate in Spartanburg, South Carolina.

Statement

I photograph nature with a primary focus on flora. I'm interested in singular forms and groupings, close-up and distance as a way to explore the parts of the world’s eco-system and the connections between nature and our human lives. I am fascinated by finding unexpected bits of nature in urban landscapes and seeing the numerous aspects of nature in a deep grove or an open, arid space.

I use my photographs to translate forms into paintings, collage and sculpture as a study for understanding the image and what it means to me.

By pushing and pulling the scale, shapes and light captured in the photograph, l create new art pieces with deeper connections.

In this selection of work, I have taken a view of trees from varied distances and viewpoints, working my way in from a tangled grove, to the form of a tree, to individual leaves.

Bio

Stacy Duryea was born in Alabama and raised in Dallas and Fort Worth, Texas. She was given her first ‘real’ camera for high school graduation and using this gift, she became an avid photographer, honing her skills while studying architecture at Texas A&M University. During her college years, she began a deeper exploration of the history and philosophy of art and enjoyed exploring a variety of art mediums.

After working in Washington D.C. and Lucca, Italy, Ms. Duryea earned an MBA from The University of South Carolina and has had a successful career in finance. She has enjoyed opportunities to explore a world of ideas and philosophies through travel, continued education and artistic pursuits. In more recent years, she has increasingly focused on developing her artist’s voice, often using photography as an integral part of creating her artwork.

Statement

My paintings are done in a colorful Abstract Expressionist manner. I approach painting as an action and a proposition. The surface of the painting is like an urban wall or billboard, covered with the remnants of the past; layered with images to evoke random thoughts and associations; randomness and repetition serve as organizing factors.

In my world everything is a symbol or metaphor, representing the constant micro-shifting of life and energy from an organized system to its natural state of chaos. These paintings are not polished like portraits or landscapes but are organic and assume more layers with each viewing. Their rough edges and textured surfaces evoke an observably decaying world. Materials are active participants allowing chance, repetition, and erasure to shape the final image.

The leafless winter guise of trees, I think, must be the inspiration for lace; gentle draping of powerlines, or the curvature of interstate highway bridge constructions, remind me of monumental sculptures. Jean Dubuffet coined a term—Arte Brut – Arte Sauvage. I interpret his thought as recognizing the ephemeral nature of art. The observer is responsible for the recognition of the art.

Creation is my mission. My intention is to initiate a “thought experiment” about the human condition of shared emotions and consciousness, and contemplate what we are doing here before we die. The resulting works resist fixed interpretation and invite viewers to navigate between recognition and ambiguity, intention and accident.

Statement

After many years working as a lawyer, I came to painting almost as a need—a way to listen to myself differently. My professional life required clarity, structure, and decisions with defined outcomes. In the studio, I allow myself something else: uncertainty, curiosity, and the freedom to follow what I feel rather than what I know. Painting has become a place of release and renewal, a space where I can slow down and pay attention.

I work primarily in abstraction, using oils and mixed media to build layered surfaces over time. Bold, saturated color is central to my method of painting, applied through repeated marks that accumulate over time, creating depth, movement, and energy. Though the work remains abstract, suggestions of flowers and the natural world often appear, not as images to be read, but as gestures that hint at growth, rhythm, and change.

My process moves gently between intention and spontaneity. Where my legal work sought resolution, my paintings remain open, allowing meaning to unfold rather than settle. I am drawn to this sense of openness—to what happens when certainty is set aside. Through abstraction and nature-based forms, I hope to create work that feels alive and quietly immersive, inviting viewers into moments of stillness, reflection, and connection.

Bio

Beth Maultsby is a lifelong Texan who spent more than 35 years in Dallas working as a family law attorney, judge, and mediator. While that work was demanding but meaningful, art was always there in the background—quietly waiting. After retiring, Beth made space to return more fully to the creative part of herself, and she now splits her time between Texas and Michigan, where painting is central to her daily life.

Beth has been making art since childhood. Her mother encouraged her early on and surrounded her with art projects and the freedom to explore. That early sense of play and curiosity never left, even during the intensity of her legal career, when art became a place to breathe, reflect, and listen to her intuition.

Over the years, Beth has studied with many artists and worked in a wide range of materials, including watercolor, cold wax, monotypes, encaustic, and mixed media. Eventually, she found her way to abstraction, drawn to its openness and intuitive nature. For the past fifteen years, she has studied closely with artist Bonny Leibowitz through classes, workshops, and one-on-one instruction.

Beth’s artwork, including commissioned pieces, is displayed in the offices of her firm and in the collections of other firms and individual collectors.

Statement

Born and raised in Iowa, Nancy Uline attended the University of Iowa and Drake University in Des Moines, graduating with a degree in art education with an emphasis in special needs audience children through adults.

Uline traveled the world from China to Greece to Alaska and South America finding inspiration from experiences exploring the Terra Cotta Warriors in China, a dig at the original site of the Olympics in Greece and walking in the footsteps of the kings in Edenborough, Scotland. One of her most influential experiences was discovering the Australian goldmines and Aboriginal dot paintings and seeing how modern Aborigines used these histories in their work. That experience influenced her dot paintings in glass.

After many years of teaching, Uline began using her background of travel and teaching to create her own bodies of work. Dot paintings moved from her knowledge of traditional works on bark to paint with hundreds of pieces of glass. She used these dots and symbols to explore color, repetition and pattern.

Another important body of work for Uline was grounded in the beauty and decline, due to the lack of upkeep, of Mary Miss’s land art installation; Greenwood Pond: Double Site at the Des Moines Art Center where she spent many hours bringing students to experience this major work by Miss. Due to a lack of funding and maintenance over the many years, the installation fell into disrepair and was eventually decommissioned. Uline worked to bring awareness, saddened by the lack of care. Uline did an installation at Umbrella Gallery in Dallas TX, curated by Bonny Leibowitz, in 2024 in honor of the work.

Another influence was Maya Lin who visited the Des Moines Art Center and was contemplating the making of The Vietnam Veterans Memorial in Washington, D.C at the time. Lin’s concerns were about honoring the many souls who had perished and how to do so.

Betty Saar. too was influential for Uline, using everyday items that had special meaning, like a doll or an ironing board to message inequality in subtle and not so subtle ways. Uline worked beside her in a workshop with young children at the Des Moines Art center during her tenure there.

Her more recent works now span conversations around aging and bodies and people facing limitations. She uses plaster, wire and encaustic to relate to flesh, broken bodies and body parts. She is finding alternative ways to make things work, within the confines and uncertainty of deterioration.

Statement

Life unfolds in layers, leaving us in the unknown until the next layer is revealed, each one connecting to what came before and what follows—just as notes connect to create music and words connect to tell stories. There is mystery in this unfolding, a rhythm that mirrors the way we grow and change.

I am drawn to making sense of these layers and interconnections of life—darkness and light, becoming and being—and expressing them through transparent washes and overlapping forms that both conceal and reveal backgrounds of lines and shapes. I love the physical act of applying paint and the challenge of making a painting into a cohesive whole.

My work is built through multiple layers and a wide range of media. I usually begin with an under-layer of acrylic paint, which is then painted over, scratched, or carved into with tools such as old credit cards, toilet brushes, scrapers, combs, and trowels, along with oil and water-based crayons, graphite, charcoal and collage. From there, the process takes on a life of its own. Some areas call to be obliterated, while others ask for more pattern, texture, or color. The work evolves through an ongoing dialogue between intuition and intellect—sometimes lines take precedence, sometimes textures, sometimes color or shape—until the piece finds its own balance and voice.

My life has unfolded in very unexpected layers. When I was young I wanted to be an actress but then became interested in business and politics. I became involved in Dallas politics and served on the city council. So many layers, each one stimulating and satisfying. And then learning to paint and being swept away by its mystery and the skill required.

I have been influenced by many artists, in particular the spiritual quality of the work of Mark Rothko and Agnes Martin, the mark-making of Cy Twombly and Joan Mitchell and the bold shapes of Franz Kline and Antoni Tapies as well as the next great artist I see in a local gallery in Dallas.

Bio

You could say Ann Margolin is an artist, but that would only be partially right. Ann is a Dallas civic leader, a former Dallas City Council Member, the first woman to chair the Parkland Hospital board and currently the vice chair of the Dallas College Foundation. She has been a business owner and real estate investor.

AND she loves to paint.

Ann began painting about eight years ago, taking oil painting and drawing classes at Brookhaven College, abstract acrylic painting at the Creative Arts Center and studying with artists Suzanne Jacquot ( Sebastopol, CA), Julie Schumer (Santa Fe, NM) and Bonny Leibowitz (Dallas.) She has been a resident artist at Ellison Valencia gallery in the Bishop Arts area of Dallas.

Ann is interested in making sense of the layers and interconnections of life through her art by using opaque layers and thin washes covering backgrounds of lines and shapes - some revealed and others concealed. She loves applying paint to canvas and the challenge of completing a cohesive piece of work.

Says Ann, “I emphasize layers and lines and use a variety of media. I usually begin with an under-layer that is then painted or scratched with tools such as old credit cards, toilet brushes, scrapers, combs and trowels along with oil and water-based crayon, graphite, charcoal, collage, watercolor pencils and spackling compound. The process takes on a life of its own. Areas of the one area call to be obliterated while other areas cry out for more pattern, texture or color. The process alternates between intuition and intellect.

Ann is influenced by the spiritual quality of the work of Mark Rothko and Agnes Martin, the mark-making of Cy Twombly and Joan Mitchell and the bold shapes of Franz Kline and Antoni Tapies.

Ann has an MBA from Columbia Business School and a BS and MA in Communication from Northwestern. She lives in Dallas with her husband, Fred, and her cats, Frankie and Nova.

Statement

Painting is a grounding and healing practice for me. The physical act of working with paint brings a sense of calm, joy, and presence, especially when I am connected to nature. Although I often carry sadness, I intentionally create work that feels uplifting. I believe many people quietly hold their own pain, and my work is meant to offer light.

Nature is at the center of my work. I am drawn to landscapes shaped by water, movement, and elemental forces, as well as to the relationship between people and their surroundings. The places I paint are often connected to memory, moments when a landscape felt pure, peaceful, or deeply grounding. Some of these places now exist only in memory, shaped by time, distance, or circumstance. Painting them allows me to preserve my feelings and remain connected to what they once offered.

At times, I include small human figures within my landscapes. Their presence introduces scale, action, and everyday life, emphasizing a shared experience of being within nature rather than separate from it.

Paint is essential to how I communicate emotion. Through layered surfaces, bold color, and expressive movement, the work captures the essence and energy of a place rather than its exact appearance. Ultimately, I want my work to feel alive and open, inviting viewers into moments of warmth, presence, and connection.

Bio

Melissa Amoros is a Venezuelan-born landscape painter whose work explores the elemental relationship between nature and the human presence.

Born on the Caribbean coast of Lechería, Venezuela, a town of canals and stilted homes, where the Atlantic stretches wide and tropical islands drift on the horizon, she grew up watching water mirror the world around it, learning early how color is borrowed, softened, and transformed by light.

Working primarily with oil and cold wax, Amoros uses palette knives and brushes to create richly textured, vibrant compositions. Her paintings emphasize bold color, dynamic movement, and expressive paint, capturing not only the visual qualities of a place but also its energy and atmosphere. While grounded in representational landscapes, her work prioritizes emotional resonance over literal depiction.

Small human figures occasionally appear within her landscapes. Subtle in scale yet meaningful in presence, these figures may act as observers or active participants, walking, swimming, or moving through the environment, introducing narrative, action, and everyday life within vast, elemental spaces.

Her cultural heritage and travels influence both her subject matter and studio practice, contributing to a strong sense of rhythm and expressive energy in her work. Over the past thirteen years, Amoros has developed her artistic voice under the mentorship of artist Bonny Leibowitz. Alongside her studio practice, she maintains a professional career rooted in creativity and leadership, bringing a multidisciplinary perspective to her work.

Statement

This body of work is rooted in memory, inheritance, and the quiet framing of family history. I am honoring both sides of my family through imagery drawn from the old homesteads that shaped us — the screen porches and doors, the gardens that sustained daily life, the doors that opened and closed with the sound of summer. The doors that announced welcomed visitors. The doors that filtered laughter and warm conversations.

I painted using a mixture of acrylic and house paint on black mesh screens — materials that echo the physical screens of those porches. The mesh becomes both surface and symbol; painting on this permeable material allows light and shadow to participate in the work, much like memory filters what we see and what we hold onto. The compositions remain intentionally simple.

Installed alongside a full-sized distressed screen door, the work invites viewers to stand at that threshold — to consider their own inherited spaces, their own histories of shelter, sustenance, and family. The door is an entry point and an invitation; a reminder that we all come from somewhere.

The Bonny Studio & Encaustic Center

Kathy Aldridge

Regina Bos

Stacy Duryea

Lance Leonhirth

Beth Maultsby

Nancy Uline

Ann Margolin

Melissa Amoros

Sheila Cooper

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