Long-Sharp Gallery

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Long-Sharp Gallery Long-Sharp Gallery specializes in works by modern and contemporary masters

“Works from the ‘Sands of Time’ series embody a visual history, evolving and changing into a new narrative through our c...
10/17/2026

“Works from the ‘Sands of Time’ series embody a visual history, evolving and changing into a new narrative through our contemporary perspective and use of technology. Pattern, ornament and symmetry were unfortunate casualties of Modernism; although they are very much alive today, our viewpoint of these visual languages has changed forever.” — Julia Ibbini⁠
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‘The Sands of Time 8.4’ (2026) Layered papers, hand signed. 17.3 × 11.4 in.⁠
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“I draw fast, I start by making random marks on the paper and contain them within a drawn box. The energy comes first, b...
10/15/2026

“I draw fast, I start by making random marks on the paper and contain them within a drawn box. The energy comes first, before I can think, before I can soften anything or resolve the chaos into a recognisable head. The marks are urgent: scratched, scribbled, painted out and redrawn. I let the drawing move my hand across the page, and the marks in turn move me.” — Moira Cameron⁠
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‘Thinking of you’ (2025) Acrylic, ink, spray paint, pastels, graphite stick, chalk on paper — 19.69 × 16.93 in.⁠
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In Patrick Hurst’s 'Resolution', “the helical coils are about resolution — multiple paths traveling apart, resolving tog...
10/12/2026

In Patrick Hurst’s 'Resolution', “the helical coils are about resolution — multiple paths traveling apart, resolving together at the same point. Two mirror-polished faces start 180 degrees, symbolizing strong clear opposing views; as they pass through time (the vertical axis) they coil around and meet together in resolution. The third satin-finished face symbolises the hazy grey area between these two contrasting views; there is a hopeful rationale for meaningful dialogue and a coming together of opposite sides.”⁠
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'Resolution' (2021). 316 stainless steel. 72 × 16 × 16 in. From a series of 8; 2 in this size. A work for this moment.⁠
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Chun Kwang Young wraps thousands of small triangular forms in antique mulberry paper — tinted with teas and pigment, tak...
10/09/2026

Chun Kwang Young wraps thousands of small triangular forms in antique mulberry paper — tinted with teas and pigment, taken from pages of old books printed in Korean and Chinese — and assembles them into surfaces that look at once like crystal formations, lunar landscapes, and something older than either.

'Aggregation 10 #2' (2010) is a Mixografía® relief print on handmade paper, 21 × 24 in. Created in an edition of 25, 3 AP, 3 HC.

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“I like to challenge myself by working on different sized dimensions. This very long horizontal format attracts me becau...
10/06/2026

“I like to challenge myself by working on different sized dimensions. This very long horizontal format attracts me because it suggests the feeling of extended space. I have driven across this country more than a few times and am amazed over and over at the breadth of it, the different terrains, varied flora, fauna… Travel, motion and connection all suggest the movement across. That is what I set out to evoke in this painting; change and movement in a literal as well as a symbolic way.” — Tamar Kander⁠
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'Across' (2021). Mixed media on canvas. 36 × 72 in. Hand signed lower right. From the artist’s studio to Long-Sharp Gallery.⁠
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“Don’t be afraid, sometimes you are stronger alone. Are the things you cling to a figment of the imagination, a hope, bu...
10/05/2026

“Don’t be afraid, sometimes you are stronger alone. Are the things you cling to a figment of the imagination, a hope, but not the truth? In this moment, you see the rainbow. There is no turning back.”

Nicola Anthony’s Unexpected Happiness series captures something remarkable about the human spirit — a few moving sentences from the artist’s research, reverse-cast in stainless steel and held inside a hand-blown glass bell dome. Each piece is a small, contained world.

'Unexpected Happiness (In this moment you see the rainbow)', Stainless steel on mirrored base; hand-blown glass dome. 11.8 × 8 in. From a unique series of 2.

This work will be on exhibit at Mayfair Design Week, London, this fall – DM for details!

“Dialog I represents our minds: an unlimited and constant flow of words, thoughts, images, and ideas, often repetitive a...
10/03/2026

“Dialog I represents our minds: an unlimited and constant flow of words, thoughts, images, and ideas, often repetitive and unstructured, but also creative, allowing us to engage in dialogue with others.” — Miriam Londoño⁠
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'Dialog' I is part of Londoño’s Monologues series — bodies and heads composed entirely of letters, loose and latent, waiting for the imagination to arrange them into words, and from words, into stories. The medium is handmade paper: delicate, tactile, irreducibly human in its making.⁠
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17.7 × 15.7 × 11.8 in. each. ⁠
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DM or email [email protected] to inquire.⁠
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“I enjoy working on a square format. I usually divide it up in some way; in this instance I used a strip of canvas left ...
09/29/2026

“I enjoy working on a square format. I usually divide it up in some way; in this instance I used a strip of canvas left over from an old project and added it to my gessoed canvas panel. The strip is weathered and stained and — to me — has a beauty of its own. I then followed a series of spontaneous marks, mostly neutrals and darks; in working with this piece, I came to see that some bits needed to be obliterated, some needed to be subdued; it’s a back and forth between me and the emerging painting. By adding some accents of color I anchored the piece and kept it somewhat whimsical.” — Tamar Kander⁠
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Splash (2026). Mixed media on canvas. 60 × 60 in.⁠
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09/26/2026

Mark your calendars, Indy friends! Amy Kirchner is opening her Indianapolis studio on Thursday, October 1, from 6–8pm — and you’re invited.

RSVP by DM or email [email protected]. We’d love to have you!

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Sam Gilliam’s ‘Dogon I, II & III’ (2005) provide a particularly cool window into Gilliam’s printmaking practice -- each ...
09/25/2026

Sam Gilliam’s ‘Dogon I, II & III’ (2005) provide a particularly cool window into Gilliam’s printmaking practice -- each of these works is a Color Trial Proofs, a working print pulled during the color development process, where Gilliam actively experimented with saturation, transparency, and overlay sequences. Unlike standard edition prints, each CTP captures a distinct moment in his creative decision-making. They are, by nature, unique.⁠
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The series title references the Dogon people of Mali — known for their sophisticated cosmology, architectural achievements, and rich artistic traditions — reflecting Gilliam’s deep engagement with African art, philosophy, and abstraction throughout his career.⁠
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A set of 3: Lithograph and intaglio (unique works). 30.25 × 22.5 in. each. Hand signed, dated, and noted “CTP.”⁠
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Featured images:⁠
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1) 'Dogon I, II & III' © Sam Gilliam, Lithograph and intaglio (unique works), 30.25 × 22.5 in. each. ⁠
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2) 'Dogon I' © Sam Gilliam, 2025, Lithograph and intaglio (unique), 30.25 × 22.5 in.⁠
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3) 'Dogon II' © Sam Gilliam, 2025, Lithograph and intaglio (unique), 30.25 × 22.5 in.⁠
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4) 'Dogon III' © Sam Gilliam, 2025, Lithograph and intaglio (unique), 30.25 × 22.5 in.⁠
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1 N Illinois Street, Ste A
Indianapolis, IN
46204

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9:30am - 3:30pm

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+18663701601

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