Hall-Barnett Gallery is excited to announce we’re headed to Miami for Art Basel with Superfine!

Merrilee Challiss ✦ Paige Devries ✦ Rose McBurney ✦ Leroy Miranda Jr. ✦ Max Seckel ✦ Meg Turner ✦ James Heraclitus Wall ✦ Daisy Winfrey ✦ Jack Wood ✦


My work is a meditation on the fact that everything going forward must be either an elegy (for what we have lost) or a celebration (of what we have left). Or both. My paintings picture my mind's tableaux of imagined realms, abstracted from reality and real forms. The paintings are failures of my attempts to represent energy and consciousness in its various stages, respective to the subject.  What is left of our world, despite our best efforts to destroy it, is still rife with wonder and beauty, fecundity and meaning. I see all natural systems, Man, Animal, and Spirit as connected and constantly overlapping and co-existing on conscious and unconscious levels. I locate myself and my role as artist, in a meditative state, in the liminal realm between elegy and celebration, where the spirit and the unconscious trump our waking reality. 

Merrilee is an artist based in Birmingham, Alabama.


Paige DeVries is a working artist living in New Orleans, LA. She was born and raised in Anchorage, AK and received her Bachelor of Fine Arts in Painting from the Rhode Island School of Design in 2013.



     Rose Mcburney is a figurative painter living and working in New Orleans, Louisiana. She takes inspiration from life, old home movies, dreams, her own inner eye and human psychology.  Many of the decisions Rose has made regarding her life and creative development have been informed by her innate need to be debt free and have time to explore her creativity.  Through years of commitment to guarding this time and extensive course work in studio arts at the University of New Orleans and the Academy of Fine Art, Rose straddles the line between being a self-taught and formally trained artist, something she is very proud of.

       In one of her recent shows, Rose was commissioned by the New Orleans Public Library to install 50 color pencil and water color drawings of patrons in various stages of reading and sleeping. “It was exciting to bear witness and record these subjects in there most relaxed postures” says Rose of this project.  This study of informal gestures runs current through Rose’s recent works (on view at Hall Barnett Gallery).  Though sometimes aware of the witness present, Rose attempts to catch her subjects immersed in their world.  It is this focus on capturing unselfconscious gestures along with the use of soft edges and golden hour light that drives Roses current painting practice.  



I approach my work with spontaneity, quickness, and—when I chance upon it—wit. The emotion or atmosphere of the day influences the work, and I consider the images that result a story of myself. Am I telling the same story over and over? Am I telling new stories? I have not figured it out exactly. What I know, for now, is that the works are both simply and not so simply works of myself, meaningless and meaningful as any emotion can be when rendered as an image.

I consider a piece to be complete when the lines, shapes, and figures are placed as I see them in nature—like a sleeping child or a tree. In nature, lines are not confirmed, not straight. When a tree (or a child) is growing, it doesn’t grow straight up or down. It grows exactly how it wants to grow: all over. I ultimately want my work to arise from natural instinct, from what is going on inside of me in relation to the outside. That instinct is the flow I am trying to capture, our subconscious, our second nature. Though when someone else looks at my work, they are seeing a part of their story, not mine—which seems to me an utterly natural end.


Max Seckel is an artist and printmaker living and working in New Orleans, Louisiana. Max graduated from the University of Delaware in the Spring of 2009 and moved to Philadelphia the following fall. Volunteered briefly at Second State Press(2010-2011) before shortly thereafter joining and keeping a studio at artist collective Space 1026 (2011-2014). Then moved south to New Orleans in the fall of 2014 where he began volunteering at the New Orleans Community Printshop and Darkroom (2014-Current) and also maintains a personal studio where he paints and also produces small book and print editions via his Risograph machine.

My work aims to explore my own reactions to and perception of the world surrounding me. Informed by memories, dreams, conversations, and just plain looking around and being I assemble a world constructed of absurdities and references. Objects are clustered together and arranged with little respect to context, intending to create a sense of wonder and confusion as the viewer works to make sense of the situation presented.


Meg lives and works in New Orleans, Louisiana where she works on prints, photography, and installation projects responding to the landscape and the community she is part of. In addition to her own work and contract printing, Meg works as the master printer for  local photogravure and wet collodion  artist, Josephine Sacabo.

She  founded the New Orleans Community Printshop but has stepped back from a leadership position in order to concentrate on her own work.

Meg shoots primarily with a 4×5 crown graphic press camera that can be used for film or for wet collodion.


James Heraclitus Wall was raised in New Orleans, Louisiana where he currently lives and works. He believes that Art, while having the most important role societally and individually, is simply "medicine for the soul and candy for the eyes". Unfortunately Art is frequently misused for personal and political aims.  When done correctly visual art is timeless and simple.   



Printing and painting are equally weighted in my creative moves; in the shared space of a printshop my paintings are activated simultaneously, likewise I mix print into paint. Processes and materials are dissolved into product disappearing origin and medium hierarchy. The content of my work is often tethered to landscape, and is heavily laced with hectic patterns where figurative subjects also hold space. I feel grounded by queer theories of horizonal futurity and infinite becoming in my practice. I refer to my practice as Pretty Color Time (chanted with enthusiasm). Aiming to be fearless in creating, I approach shadowy traces of dysphoria with the cleansing light of critical thinking, compassion, and hard work. My images describe the precipice of change and the excitement of impermanence relative to all aspects of living. Ultimately, the work is a declaration that being alone is physically forever, but that ultimately there is joy to reap in the sharing of space and our journey through it.