Art Galleries

• Pauline Dove Art Gallery: Parr Center, Ground Floor 0110, 1201 Elizabeth Ave, Charlotte, NC 28204. Hours: Monday-Thursday, 10 a.m.-4 p.m.; Friday, 10 a.m.-2 p.m.
• The Art Hub (located in the Ross Gallery): Overcash Center, First Floor, 110-113, 1206 Elizabeth Ave, Charlotte, NC 28204.Hours: Monday-Friday, 10 a.m. - 4 p.m.
• The Bill & Patty Gorelick Galleries at Central Piedmont
  • Central Campus Gorelick Gallery: North Classroom Building, First Floor, 1320 Sam Ryburn Walk, Charlotte, NC 28204. Hours: Open during regular college hours
  • Harper Campus Gorelick Gallery: Harper 4, Ground Level, 221 W Hebron St, Charlotte, NC 28273. Hours: Open during regular college hours
  • Harris Campus Gorelick Gallery: Harris 2, Ground Level, 3216 CPCC Harris Campus Dr, Charlotte, NC 28208. Hours: Open during regular college hours
  • Levine Campus Gorelick Gallery: Levine 2, Ground Level, 2800 Campus Ridge Rd, Matthews, NC 28105. Hours: Open during regular college hours
  • Merancas Campus Gorelick Gallery: Merancas 4, Ground Level, 12010 Verhoeff Dr, Huntersville, NC 28078. Hours: Open during regular college hours
  • Cato Campus Gorelick Gallery: Annable Building, Ground Level, 8121 Grier Road, Charlotte, NC 28215. Hours: Open during regular college hours 

The Central Piedmont art galleries are not currently holding open artist calls. Please email Meghan French, Senior Coordinator for any questions or concerns.

Attention Central Piedmont artists: you put in the work, you earned the grade... now what?

Each year, Central Piedmont hosts an annual Student Art Show, open to all students who have completed an art course at the college. This is your chance to have your artwork selected for exhibition in the Pauline Dove Gallery, located in the Parr Center.

A guest juror will be invited to review submissions and select 50-80 pieces to be featured in the show.

Details about submission guidelines and deadlines will be posted on this page once the submission period opens.

Cash awards and a formal recognition will be given for multiple works, including:

• First, Second, and Third Place Best in Show
• Kappy McCleneghan Drawing Award
• Painting Awards
• Arzberger Purchase Awards
• John White Photo Award
• Honorable Mentions

Selected courses included in the AFA in Visual Arts at Central Piedmont include:

• art history and art appreciation
• ceramics
• drawing
• jewelry and metals
• painting
• photography and computer art
• printmaking
• sculpture

Contact Isaac Payne, Program Chair, with questions about this degree.

Kevin Utsey

Levine Campus: January-June 2026

Artist Statement- Kevin Utsey is an architect, planner, sketcher, and a part time theater usher at Central Piedmont Community College. A native North Carolinian, Kevin graduated from NC State University with undergraduate and graduate degrees in architecture. 

Projects under Kevin's design leadership have been recognized with both national and regional awards. He developed his drawing skills while in school uses hand sketches to convey his design ideas. At the same time, his interest in capturing the spirit of buildings and places he admires has produced drawings that are explorations in media and style. 

Some of the sketches in this exhibit are quite detailed, and some are quick doodles. A few were drawn on napkins (to enter a contest), but most are line drawings sketched in situ (usually in half an hour) with additional detail and sometimes watercolor is added later. A good sketch responds to questions including: Why does a view captures attention? What does it share about a particular place or time? How well does it convey the feeling of being there? This is what leads us to take a pen (or pencil or brush) to paper.

Lee Ko

Cato Campus, Annable Building: January-June 2026

 Moving Silence examines how sound, movement, and stillness converge in metal forms shaped through repeated hammering, where the noise disappears, but its motion remains. The artist transforms simplified drawn figures into metal, heating and reshaping them through many cycles until the surfaces become smooth and balanced. These refined forms hold the accumulated time, labor, and presence of the artist’s hands, inviting viewers to consider the unseen movements behind the work. Rooted in an Eastern tradition that values technique and the role of the hand, the process emphasizes patience and craftsmanship in contrast to a fast, disposable culture. The exhibition ultimately offers a quiet space where subtle gestures, slow revelation, and the balance between noise and silence shape how the work is experienced. 

Lee Ko is a multidisciplinary artist whose life between Seoul and the United States shapes her understanding of materials, people, and place. Working across metal, clay, wood, textiles, and found objects, she lets each idea determine its material form, relying on repetition, labor, and small gestures to guide the emergence of shape. Her practice centers on the quiet stories within ordinary things, transforming 
everyday materials through sustained refinement until they become elemental carriers of time, memory, and 
human presence.

Ashley Lathe and Isaac Payne

Central Campus, Dove Gallery: January-March 2026

At the heart of our exhibition are several plein-air works begun on location 
together - the same day and time. These pieces demonstrate the role of creative interpretation. How each of us view and interpret the same structures and conditions in different ways, including our approach to technique, subject matter, and composition/design.

A key focus of this joint exhibition is to demonstrate a creative process for the benefit of our AFA curriculum and Art Appreciation students. The exhibition includes paintings completed plein-air (French for ‘outdoors’) as well as studio-based works from site visits, reference sketches, snapshots and imagination. Locations shared by both artists include Charlotte gems off Independence Blvd.; Noda rail lines, bridges and condos; Myrtle Beach motels off Ocean Blvd; the Heart of Albemarle Hotel and downtown.

Jennifer Bonner

North Classroom: January-June 2026

An avid trail runner, my work is heavily influenced by my experiences in outdoor 
spaces, as well as the suspension of disbelief instilled by escapist fantasy fiction. Running and hiking for hours at a time, sometimes through the night, hallucinations weave into reality, and my memories encompass my experience in landscape, rather than one specific view.

My paintings and collages often feel like maps of these memories. Through the juxtaposition of painted marks, original and found photographs, colored transparencies, and other collaged elements, I am able to explore the fluidity of landscape as we experience it through our own recollections

Tuan Mai

Harris Campus: January-June 2026

Brushes of Vietnam draws deep inspiration from the timeless beauty of Indochina. Vietnamese culture is about hard-working, resilient people, fishing, farming, harvesting and selling wares at the markets. Mai grew up in Vietnam painting these scenes. Growing up around a market, Mai misses the chaotic morning scene of street cries from vendors introducing their wares to buyers. He confesses missing those experiences when he moved to the U.S., even though the U.S has its own markets. Growing up, Mai’s grandparents always told him that being able to do farming is a gift because that gift helps people to have things to eat and shows that they understand nature. “Bán mặt cho đất, bán lưng cho trời,” literally translated means these people sold their faces to the earth’s surface and sold their backs to the sun. The metaphor means that farmers work so hard that the posture described becomes an iconic image associated with them. The word confessions carries the weight of how Mai feels being in two different cultures, trying not to betray but honor Vietnamese culture. He chose it to show how much Vietnamese culture is important to him, teaching and reshaping the person he is becoming.

Through a blend of traditional oil techniques and Mai’s distinctly Vietnamese cultural perspective, this series captures the strength and dignity of working-class people. Each piece is a reimagining of Mai’s memory, identity, and the transformation of the past as seen through his current perspective. Through this body of work, Mai seeks to reimagine Indochinese art not as a relic of history, but as a living, evolving narrative, one that bridges the echoes of the past with the voice of the present.