Don’t miss Bob Stuth-Wade’s exhibition before it closes! The exhibition is on view 10:00am-5:00pm, through Saturday, February 28. Join us for the Opening Reception for Gail Norfleet on Saturday, March 7, 4:00pm-6:30pm. Gail Norfleet’s recent exhibition at The Grace Museum in Abilene was reviewed by John Ewing for Glasstire. Find a link to the review at https://www.valleyhouse.com. Also on our homepage is a link to an interview of Miles Cleveland Goodwin that appears in The Harvard Advocate. A selection of images follows below. We look forward to seeing you!
Installation view of the exhibition Bob Stuth-Wade: No Separate Piece at Valley House Gallery
Bob Stuth-Wade, Light Tangle, 2024, oil on canvas, 11 x 14 inches
Bob Stuth-Wade, March Clouds, Dublin City Park, 2025, oil on panel, 7 x 9 inches
Bob Stuth-Wade, Low Water Crossing, 2025, oil on panel, 7 1/4 x 9 1/4 inches
Bob Stuth-Wade, Fishing Spot, Proctor, 2022, oil on linen panel, 6 x 8 inches
Bob Stuth-Wade, Spring, Proctor Lake, 2024, glazed gouache on canvas panel, 12 x 9 inches
Bob Stuth-Wade, Tank North of Dublin, 2025, oil on panel, 7 x 9 inches
Bob Stuth-Wade, Stones, Back Road, Big Bend, 2024, watercolor on paper, 6 1/4 x 12 1/2 inches
Bob Stuth-Wade, Back Road, Big Bend, 2024, watercolor on paper, 7 1/2 x 13 1/4 inches
Bob Stuth-Wade, The Weight of Mountains, 2025, acrylic on linen, 48 x 36 inches
Bob Stuth-Wade, Snake Mountain and Low Clouds, 2025, oil on linen, 36 x 40 inches
Bob Stuth-Wade, In the Light, 2025, oil on canvas, 60 x 44 inches
Bob Stuth-Wade writes:
“Beginning a painting is complicated. There are many things to consider. Value, shape, color, texture, materials, and meaning. As a painting progresses all of these elements “come together” until finally the pieces become one visual statement. There is satisfaction in this gentle catharsis of beginning with complication and ending by completion in unity. This is one of the reasons I paint. Every painting takes me from confusion to clarity. I meditate in the mornings for the same reason. Sitting in silence before the sun comes up, my own confusion is apparent. Slowly, it dissipates and resolves into a way of seeing where self and the world are not in opposition. Painting is a practice that condenses disparate experience into a coherent, visual language.”
Born in 1953, Bob Stuth-Wade’s self-directed art education began under his mentor, Dallas artist Perry Nichols, when he was a student at Jesuit College Preparatory School of Dallas. His work has been written about by Eleanor Jones Harvey of the Smithsonian American Art Museum, Frederick Turner for American Arts Quarterly, Judy Deaton for The Grace Museum, and Rebecca Lawton for the catalogue published on his work in 2019. Museum exhibitions include San Angelo Museum of Fine Arts, The Grace Museum, Jesuit Dallas Museum, Museum of the Big Bend, and Old Jail Art Center. The most recent catalogue on his work, The Comfort of Trees, was published in 2025. This is Bob Stuth-Wade’s twelfth solo exhibition at Valley House Gallery.
GAIL NORFLEET
Connecting Faraway Places
Valley House Gallery
Opens March 7
We are pleased to announce the solo exhibition Gail Norfleet: Connecting Faraway Places at Valley House Gallery. Join us for the Opening Reception on Saturday, March 7, 4:00pm-6:30pm. Gail Norfleet will give an Artist Talk on Saturday, March 28, at 11:00am. This exhibition includes recent works on layers of plexiglass inspired by her time in Morocco and New Mexico.
In his recent review in Glasstire about Norfleet’s exhibition at The Grace Museum, John Ewing writes, “the greater quantum of delight found in Norfleet’s work comes from its fantastical convergence of shapes, colors, and ideas. In manipulating layers, the artist appears free to combine imagery from different sources, settings, contexts, and periods — a kind of collage of experience across time and place. Instead of chaos or cacophony, her visual magic tricks are nothing short of transporting.”
Gail Norfleet, Parade in Asilah, 2024, acrylic and wax pencil on two plexiglass panels, 32 x 28 x 2 inches
Gail Norfleet, Buena Vista, 2025, acrylic and wax pencil on two plexiglass panels, 39 x 33 x 2 inches
Gail Norfleet, The Gustave Baumann House with an Imaginary Garden, 2025, acrylic, Neocolor pastel, and cut paper collage on two plexiglass panels, 33 x 37 x 1 3/4 inches
Gail Norfleet, Galisteo, 2025, acrylic, wax pencil, and cut paper collage on two plexiglass panels, 39 x 33 x 2 inches
MILES CLEVELAND GOODWIN
Interview by Yuanyi Ma
The Harvard Advocate
Spring 2026
An Interview with Miles Cleveland Goodwin by Yuanyi Ma appears in the Spring 2026 issue of The Harvard Advocate. Founded in 1866, The Harvard Advocate is the oldest continuously published collegiate literary magazine in the country. In this far-reaching interview for their Fear Issue, Goodwin says, “I really, just try to be a little light in the darkness, in a way, or I like to think of it that way, because it makes me feel like I’m making some kind of a difference.” Read the full interview at The Harvard Advocate online – a link can be found on our homepage.
Miles Cleveland Goodwin, The Blind Woman, 2022, oil on canvas, 72 5/8 x 44 5/8 inches
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We always enjoy hearing from you, and we look forward to seeing you!
With gratitude for your friendship and patronage – from all at Valley House Gallery,
Cheryl and Kevin Vogel
Laura Green
Ben Bascombe
Bruce Beddow
Valley House Gallery & Sculpture Garden
6616 Spring Valley Road, Dallas, Texas 75254
972-239-2441
Gallery and Garden Hours:
10:00am to 5:00pm, Monday through Saturday
Always closed on Sunday
Please check in the gallery before proceeding to the garden