CAB Art Gallery at UNCW

CAB Art Gallery at UNCW CAB Art Gallery is on the ground floor of the Cultural Arts Building on UNCW's campus. Visit us!

THE ART GALLERY at the CULTURAL ARTS BUILDING hosts national, international, student and faculty exhibits serving as a key educational component of the Department of Art & Art History at the University of North Carolina Wilmington. In addition to showcasing Senior Student Exhibits semiannually, exhibitions by Visiting Artists and invitational
exhibitions are displayed. The Art Gallery is a resourc

e for the department, university campus, and the Wilmington community. A public reception is held for each exhibit and all exhibitions are free and open to
the public. The Art Gallery is located on the ground floor of the Cultural Arts Building, near the building’s main entrance. The Cultural Arts Building is located on the corner of Randall Drive and Reynolds Drive on the UNCW campus. To access either from South College Road or Racine Drive, take
a left as you enter the campus area onto Randall Drive. There is visitor parking directly in front of the Box Office entrance to the building.

Lucas Megson, “Limbo, USA”Oil in linenLucas Megson, “Middlesex”Oil on linen Artist Statement: “Personal introspection fo...
04/30/2026

Lucas Megson, “Limbo, USA”
Oil in linen

Lucas Megson, “Middlesex”
Oil on linen

Artist Statement:

“Personal introspection forms my painting process. Through exploration of my own thoughts and feelings, I hope to uncover certain universal truths while also investigating the ambiguities of human life. American iconography, particularly through cinema, inspires my work, which exists within a surrealist approach to my upbringing in the American South. 

My medium of choice is oil paint on a variety of supports including panel, linen, and canvas. The transparent and slow drying properties of oil paint allow me to react and sit with a painting. This layered method of working dictates a call and response between myself and the painting. My non-linear process means the features of my painting are undetermined, allowing for improvisation and deep learning while painting.”

Gallery hours are extended this Thursday and next until 7pm. Last day of the .seniorexhibit exhibition is next Friday, May 8th as the seniors graduate on May 9th! Be sure to come by and see this amazing group show!

04/27/2026

Jamie Ward, “Balloon”
Porcelain, helium balloon

Jamie Ward, “Pushed Around by the Wind”
Two toned aquatint on Japanese paper

Spring 2026 Senior Exhibit is on view until May 7!

We are excited for our upcoming exhibition,“Assemblage” a collection of works from the 2026 graduating class of studio a...
03/24/2026

We are excited for our upcoming exhibition,“Assemblage” a collection of works from the 2026 graduating class of studio art majors, showcasing various mediums including, but not limited to: oil paintings, sculpture, photography, printmaking, digital art, ink, ceramics, mixed media, etc. 

Family, personal experiences, mental health, escapism, identity, time and space are just a few overarching themes presented. 

Featured are the works of these 19 graduating seniors:

Bain Bennett 
Katharine Ciener 
Kai Feeley 
Luke Hufham 
Cooper Humphries 
Eli Lukens 
Evan McManis 
Lucas Megson 
Emma Mikita 
Emma Mills 
Erica Nelson 
Kelcey Pagano 
Samantha Pasch 
Gabriela Ross 
Hartley Sneed 
Madison Taylor 
Haili Turner 
Jamie Ward 
Diamond Wilson 

Please join us Thursday, April 9, from 5:30-7pm for the opening reception celebrating their hard work! All are welcome!

And in the meantime, follow .seniorexhibit

The last day of “Numbers in the Dark” will be this Friday, March 20. Come experience this exhibition before it heads ba...
03/18/2026

The last day of “Numbers in the Dark” will be this Friday, March 20. Come experience this exhibition before it heads back to

Extended gallery hours are Thursday until 7 p.m.

Looking for a fun afternoon or date night? Visiting Artist & Scholar Series (based in Philadelphia)Thursday, March 12 a...
03/12/2026

Looking for a fun afternoon or date night?

Visiting Artist & Scholar Series

(based in Philadelphia)
Thursday, March 12 at 5PM
Cultural Arts Building Room 2033
Free & open to the public

Sarah Peoples creates large-scale sculptures and participatory public artworks exploring environmental awareness, ritual, and collective experience.

Join us for an artist talk with this innovative sculptor whose work spans installation, performance, and community engagement.

Then, be sure to head downstairs to exhibition as the gallery is open until 7pm!

Photo credit:

“My work and research is situated within the unfolding relationship between ancient weaving technology (the loom) and mo...
02/26/2026

“My work and research is situated within the unfolding relationship between ancient weaving technology (the loom) and modern computers. I approach this intersection as a traditionally trained weaver, but also as a digital native. Sharing the same language of binary code, I see this relationship as both fraught and fruitful. Using the digital TC2 (Thread Controller 2) Jacquard loom, I manipulate, hack, confound, and fracture design software to explore and test the boundaries of how cloth is typically conceived. I push design software to the point of rupture or failure, capturing the physicality of these behaviors as the warp and weft of hand-woven textiles. 

The resulting weavings often display frenzied patterns: distorted, agitated, or corrupted. I revel in the conflicts that arise between the digital and the physical, between traditional forms and emerging technologies, and I am always sensitive to the presence of the ghosts in the machines I use. Additionally, I work to create new software, drawing tools, and self-generating, parametric systems that employ “computational creativity” to make weaving patterns independently from a human designer. My visual language relinquishes much formal determination to the algorithmic operations I choose. I collaborate with this computational creativity to weave cloth that is neither entirely human nor completely machine in origin. What emerges is often an alien visual language, a vernacular of line, color, and shape that surfaces from the interior, computer world of algorithms. Ultimately, I am interested in the soft world of machines and their programming, obscured by the rigidity of technocracy and the structures of capital; a q***r and cyborg theory emerges from the intimacy of dissecting the machine or electing programs as collaborators. I question the subject/object relationship generally established between maker and tool, and I contemplate the possibility that tools form the maker as much as they are wielded, teaching their users what is possible within their disciplines, and physically influencing the products and outcomes of the studio. 

(Continued in the comments)

Artist Statement:“My work and research is situated within the unfolding relationship between ancient weaving technology ...
02/26/2026

Artist Statement:

“My work and research is situated within the unfolding relationship between ancient weaving technology (the loom) and modern computers. I approach this intersection as a traditionally trained weaver, but also as a digital native. Sharing the same language of binary code, I see this relationship as both fraught and fruitful. Using the digital TC2 (Thread Controller 2) Jacquard loom, I manipulate, hack, confound, and fracture design software to explore and test the boundaries of how cloth is typically conceived. I push design software to the point of rupture or failure, capturing the physicality of these behaviors as the warp and weft of hand-woven textiles. 

The resulting weavings often display frenzied patterns: distorted, agitated, or corrupted. I revel in the conflicts that arise between the digital and the physical, between traditional forms and emerging technologies, and I am always sensitive to the presence of the ghosts in the machines I use. Additionally, I work to create new software, drawing tools, and self-generating, parametric systems that employ “computational creativity” to make weaving patterns independently from a human designer. My visual language relinquishes much formal determination to the algorithmic operations I choose. I collaborate with this computational creativity to weave cloth that is neither entirely human nor completely machine in origin. What emerges is often an alien visual language, a vernacular of line, color, and shape that surfaces from the interior, computer world of algorithms. Ultimately, I am interested in the soft world of machines and their programming, obscured by the rigidity of technocracy and the structures of capital; a q***r and cyborg theory emerges from the intimacy of dissecting the machine or electing programs as collaborators. I question the subject/object relationship generally established between maker and tool, and I contemplate the possibility that tools form the maker as much as they are wielded, teaching their users what is possible within their disciplines, and physically influencing the products and outcomes of the studio.

(Continued in comments)

“Numbers in the Dark” is now on view until March 21.Stop by tonight for the opening reception from 5:30-7pm and see the...
02/19/2026

“Numbers in the Dark” is now on view until March 21.

Stop by tonight for the opening reception from 5:30-7pm and see these incredible handwoven textiles in person 🍷🧀

(The accompanying artist talk is linked in our bio)

We look forward to seeing you tonight!

We are so excited for our opening reception of Jovencio de la Paz’s “Numbers in the Dark” exhibition tomorrow, February ...
02/18/2026

We are so excited for our opening reception of Jovencio de la Paz’s “Numbers in the Dark” exhibition tomorrow, February 19, from 5:30 -7 PM in the gallery.

The recorded artist talk is now available (linked in our bio) and below:

https://vimeo.com/1166043881?fl=tl&fe=ec

Jovencio de la Paz was born in the Republic of Singapore and lives and works in Eugene, Oregon. They received a Master of Fine Art in Fibers from the Cranbrook Academy of Art (2012) and a Bachelor of Fine Art with an emphasis on Fiber and Material Studies from the School of the Art Institute of Chicago (2008).
 
They have exhibited work in solo and group exhibitions both nationally and internationally, most recently at the 
 
Museum of Art and Design in New York
The San Jose Museum of Quilts and Textiles
The 2019 Portland Biennial at Oregon Contemporary
The Museum of Craft and Folk-art in Los Angeles, CA
The Museum of Contemporary Art in Denver, CO
Seoul Arts Center AND the Uri Gallery, Seoul, South Korea
The Hyde Park Art Center, Chicago 
the 2024 Immigrant Artist Biennial in New York
the ICA at Carnegie Mellon in Pittsburgh, PA
among others.
 
You can also find de la Paz in the pages of W magazine, 2025, Volume 6, “The Art Issue”
 
In 2022, de la Paz was awarded the prestigious United States Artists Fellowship for their significant contributions to the field of weaving.
 
They are represented by Chris Sharp Gallery in Los Angeles, California
 
Jovencio de la Paz is an Associate Professor and Head of Fibers at the University of Oregon in Eugene, Oregon USA.

For more information about the artist and exhibition, please see the press release linked in our bio.

We are beyond excited to announce our upcoming exhibition, “Numbers in the Dark” by February 19 - March 21, 2026. Openi...
01/28/2026

We are beyond excited to announce our upcoming exhibition, “Numbers in the Dark” by

February 19 - March 21, 2026.
 
Opening Reception: Thursday, February 19, 2026 from 5:30 p.m. – 7 p.m. 
 
Recorded Artist Talk: available on Thursday, February 19

______________________________

Jovencio de la Paz’s “Numbers in the Dark” exhibition at UNCW’s CAB Art Gallery, explores the relationship between computation and handweaving. All pieces in this exhibition were woven by hand on a computerized, TC2 Jacquard loom. In particular, each piece explores the way that material choices like idiosyncratic thickness or materials in the weaving process confuse, alter, or change the computerized design file. These aberrations, taking the form of stretched or squished geometries, are formal representations of aberration. They are material glitches which invite the viewer to contemplate the relationship between the seemingly mathematically precise realm of the digital, and the ever-surprising realm of the physical and material.
 
Each design was created digitally and then hand woven on a digital TC2 loom. Specific yarn choices were made to stretch or squish the digital designs. The process of handweaving is slow and laborious, while the digital is often seen as fast or automatic. This process conflates the fast and the slow, the digital and the physical, and the resulting pieces are meditations on the collision and collusion of these ways of thinking and working in a technologically saturated world.

Jovencio de la Paz (b. 1986, Republic of Singapore) lives and works in Eugene, Oregon. de la Paz received a Master of Fine Art in Fibers from the Cranbrook Academy of Art (2012) and a Bachelor of Fine Art with an emphasis on Fiber and Material Studies from the School of the Art Institute of Chicago (2008). 

Jovencio de la Paz is an Associate Professor and Head of Fibers at the University of Oregon in Eugene, Oregon USA.

For the full press release and CV, click the linktr.ee in our Instagram bio

UNCW Student Poster Design: Melana Brenengen

Address

Randall Pkwy At Reynolds Drive
Wilmington, NC
28403

Opening Hours

Monday 10am - 4pm
Tuesday 10am - 4pm
Wednesday 10am - 4pm
Thursday 10am - 7pm
Friday 10am - 4pm

Website

https://linktr.ee/cabartgallery

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