FEATURED ARTISTS

Please join us in celebrating the Grenning Gallery's 28th Year in Business!

This summer's events calendar is full of exciting events, including Opening Receptions, Studio Visits, Closing Parties, Art Fairs, and more.

Please note that our Opening Receptions will be held on THURSDAYS this Summer!

JUNE

 Hunt Slonem Solo Show

Opening Reception: Thursday, June 19th, 6:00pm-7:30pm@ Grenning Gallery, 26 Main St, Sag HarborThe exhibition is on view June 19th, 2025 - July 13th, 2025

JULY

Hampton's Fine Art Fair

July 10th - 13th, 12:00pm-6:00pm @ Southampton Fairgrounds, 605 County Road 39, Southampton, NYSpecial appearance by Hunt Slonem for a book signing, Friday, July 11th at 4:00pmTo secure your ticket, call us at the gallery 631-725-8469 or email info@grenninggallery.com

Closing Party: Hunt Slonem Solo Sow

Saturday, July 12th from 5:00pm-7:00pm@ Grenning Gallery, 26 Main St, Sag HarborDrinks, hor d'oeuvres, and live music to celebrate the end of Hunt Slonem's Solo Show

Darius Yektai Solo Show

Opening Reception: Thursday, July 17th, 6:00pm - 7:30pm@ Grenning Gallery, 26 Main St, Sag HarborThe exhibition is open July 17th, 2025 - August 3rd, 2025

AUGUST

VIP COCKTAIL PARTY: Meet the Artists!

Thursday, August 7th from 6:00pm-8:00pmSpecial VIP preview of our Summer Group Show, with artists Tony Mastromatteo, Doug Reina, Steven Levin, and new artist Gene Johnson. This event is private invitation only.

Summer Group Show: Steven Levin, Anthony Mastromatteo, Doug Reina & introducing Gene Johnson

Opening Reception: Friday, August 8th, 6:00pm - 7:30pm@ Grenning Gallery, 26 Main St, Sag HarborThe exhibition is open August 8th, 2025 - August 24th, 2025

Ben Fenske Solo Show

Opening Reception: Thursday, August 28th, 6:00pm - 7:30pm@ Grenning Gallery, 26 Main St, Sag HarborThe exhibition is open August 28th, 2025 - September 14th, 2025

The Grenning Gallery is pleased to unveil CARMODY | WHITE, an exhibition celebrating two classically trained painters who’ve redirected their skilled hands to soften, allowing them to dive into their curiosity about uncommon color associations found in nature, which now drive their compositions. This exhibit will hang from Saturday, May 24th, through Sunday, June 15th, 2025. Please join us for an Opening Reception on Saturday, May 24th from 5:30-7:00 pm, both artists will be present.

We are also pleased to see that after over 100 years of painting on Shelter Island, the White family will be honored with a museum show! The Shelter Island History Museum will be hosting Generations of Shelter Island Impressionists, an exhibition of paintings from our own Nelson H. White, his father Nelson C. White, and his grandfather Henry C. White. The exhibition opens Saturday, June 28th, and hangs through October 11th.  The museum is located at 16 South Ferry Road on Shelter Island, NY. 

Kelly Carmody (b. 1977, Massachusetts) continues to assert herself as ‘king of her canvas’ with her latest body of work. Rooted in realism, Carmody’s compositions start very traditional in subject and composition; however, she further transforms her skilled hand by painting a single subject in multiple mediums and palettes and then using her sketches reference; Carmody’s new process has unearthed a unique point of view that feels both contemporary and harkens back to the studio’s of Henri Matisse, or Pierre Bonnard. Carmody has created a world that is beautiful, pleasant, and abundant. A sundrenched porch is adorned with pillow-tufted benches and a table of neatly arranged flora in vases. Plates of peaches are ready to be served, and books are plentiful. 

Carmody’s paintings play with this tension between flatness and depth as she translates subject into sketch, sketch into painting, and painting into another painting. She often selects compositions with distant backgrounds, close foregrounds, and complex middle ground subject matter. The spaces are skillfully done, attributing a similar level of detail to each plane, yet remaining distinct with clear relationships. To achieve this level of cohesion in complexity speaks to Carmody’s restraint and skill for impressionism.

The women in Carmody’s paintings are pensive, often lost in thought, settled onto chairs near unfinished activities; an open book downfacing on her lap, arms crossed near a bowl of cut fruit, a butter knife left on an empty plate. Surrounded by a rich palette and soft light, the figures in these paintings have a relaxed, contented, contemplative ease that vibrates from the painting and into the space around them. 

The composition for Pink Reflection began with the plein-air pastel drawing above which Carmody created sitting on the bridge at Dering Harbor, Shelter Island. In the pastel, we see a colorful sky with clouds scattering just after sunset. The horizon is intersected by masts from an assortment of sailboats. In the foreground, water runs out from beneath the bridge she sits upon, flowing into the harbor, the current accentuated by a simplistic design of little V shapes. As a poet does, when they go to write a line….Carmody translated this plein air sketch onto a canvas, she made decisions to omit a lot of what she saw on site. She emphasized the stillness of the harbor, where the pink sky casts a bright reflection onto the water’s surface. The sailboats intersecting the horizon were entirely omitted, heightening a sensation of peaceful contemplation. The movement in the foreground is only annotated by her echoing the pattern of arrows pointing us toward the direction of the water’s current. What started as a plein air pastel, sparked by an interesting light effect, resulted in a studio painting that emanates light itself. 

Lifelong painter Nelson H. White (b. 1932, Connecticut) is widely appreciated for his loyalty to natural landscapes and intimate impressionism. His loose brushstrokes are skillfully applied, consistently capturing a quiet, relaxed atmosphere, whether that be on a beach in Italy or a view of the bay from Shelter Island. White communicates nature’s serenity through his spacious compositions and subtle details. 

White uses impasto and texture to communicate atmosphere, which is unique to his work. In Dering Harbor 07.30.2022, the movement in the sky made by a palette knife translates to windy, overcast weather, a detail which might be lost on the viewer had the sky been rendered with smooth, consistent brushstrokes. Changes in his approach to painting reflect reality, time, and environment, allowing him to return to the same subjects again and again, finding a new painting every time. This skill is reflective of White’s deep presence with nature and ability to translate sense into image, something that is well earned after painting en plein air for over 70 years!

White also exhibits skillful restraint in his paintings, his experience as a seasoned painter allows him to decide how much detail a painting needs in order to express the true feeling of a scene. In The Red Umbrellas, his brushstrokes are precise, the distant forms of walking figures are distinct, the shadows of beach chairs inform us exactly of the suns position. In this painting, the texture of the paint is smooth and even, allowing the precise details of his subject to shine. Adversely, in The Road, Shelter Island, N.Y. 06.05.2024  White takes the opposite approach, abandoning strict detail for thicker paint, letting texture speak first, the full composition singing to subject, scene, and impression. It is for this intelligent handling of his subjects and paint that Nelson H. White has been a cherished artist for the Grenning Gallery since it's inception in 1997. 

Nelson H. White has been painting professionally since the 1960s and studied with the world-famous Pietro Annigoni, after growing up in a family of painters.  His father, Nelson C. White (1900 – 1989), and his grandfather, Henry C. White (1861-1952), both painted and are considered part of the Connecticut Impressionist School.  His grandfather sailed over to Shelter Island in 1908 and bought a healthy tract of land on Menantic Creek and built a family “fishing homestead” on the water.  While the whole family visits and paints on the property like their forefathers, the community is grateful that the White family has recently gifted most of the open space to the Community Preservation Fund. 

The Grenning Gallery is pleased to present three varied talents, Marc Dalessio, Tina Orsolic Dalessio, and Emily Persson.  

This exhibit will hang from Saturday, April 19th, through Sunday May 18th. 

Please join us for an Opening Reception on Saturday, April 19th, 5:30 – 7:00 PM.

Tina Orsolic-Dalessio (b. 1983, Croatia) is branching out of her traditional approach to painting, by taking command of paint and her passion for naturalism and channelling it into the realm of abstraction and surrealism. Having graduated from the Florence Academy of Art in 2018, Orsolic is classically trained and has excelled in capturing natural realism in her paintings. These stylized figurative paintings aim to communicate more directly the ideas Orsolic has expressed in her work in the past; using shape, color, and gesture to communicate emotion and achieve a dreamlike atmosphere unbound by the limits of realism. By integrating the figure directly into her landscapes, Orsolic holds a light to our spiritual connection to nature. 

In her artist statement, she notes, “This reemerging naturalistic movement that I consider myself a part of, rests on humility and acknowledgement of how precious, beautiful and fragile our world is. As an artist who considers it her mission to inhale the beauty that surrounds her, and exhale it as art, I hope to gently remind others of that same truth regarding the miracle and delicacy of human condition.“ Orsolic sheds light on her painting, Dance, depicting a woman in a long, striped dress, her skirts flaring in her movement, surrounded by a rich blue forest grove and bright gold sky. Flecks of golden light and light-blue stream down around the figure, mixing with the patterns of her skirt, making her one with the landscape. 

Again, Orsolic places herself in ornate golden settings in both Irises and Dreams; in  which stylistic details remind us of the Vienna Secession; the late 19th-Century movement famously led by Gustav Klimt, which aimed to break free from traditional art institutions rigid historical styles, enforce a certain open-mindedness, and reflect the spirit of the current time. Not only is the artist placed within these decorated surroundings, but she is dressed to the nines in patterned dresses. In Irises, she stands amidst a flowering of blue irises; a blue that is replicated in her underdress peeking-out along her collarbone. One could consider that she is a blooming iris herself. In Dreams the figure appears to be gracefully falling backward; at ease, as if she’s sure she will make a soft landing. She is set within a delightfully obscure setting, where it appears gemstones are raining from the sky and the world is made of wheat.  Along with recognizing the powerful influence of artists that came before her, Orsolic also considers the impact of other art forms, such as music. The coupled paintings, “Clair de Lune” and “Reverie” are in reference to the sensations evoked by these classical compositions of the same names, illustrating through abstract shape and color the synesthetic effect music can have on the listener. 

The final self-portrait of this series, Chrysalis, is unlike the previous paintings both in shape and in premise, standing at over 5 feet tall and only 20 inches wide. “In this painting, I am slowly emerging from a transitional state and into a version more free and more in tune with my ever-evolving self." This evolution can easily be traced from top to bottom of the composition. Up top, we see a realist portrait of the artist; her hair pulled tightly out of her face into a traditional bun atop her head. Her face is exquisitely rendered and captures her likeness in true naturalism. Behind her portrait, is a backdrop adorned with tiny red florets, as if the artist is standing in front of a mural or wallpaper. As our eye stems downward, it becomes unclear where the backdrop ends, as the red florets appear to gather around her shoulders and continue to blossom atop her yellow cape-dress. The further we descend, the larger the blossoms become, and once at the bottom’s edge, it appears a garden of green and red has been planted among a golden sky. This self-portrait encapsulates Orsolic’s decision to take her academic training beyond realist perfection. This whole series of paintings opens a much wider dialogue for the viewer to ponder.  

One year after her first visit to the East End, Emily Persson (b. 1991, Melbourne) delivers luscious paintings of our locale as seen through her fresh eyes. Persson thoughtfully captured both the picturesque vistas and sweet microcosms of our environs; translating, and transmuting through her very specific and personal palette-knife technique. Her generosity with the paint and layering of colors emphasizes the forms of our local landscape in ways that remind us how beautiful Sag Harbor truly is. 

Persson’s generous application of the paint not only draws us in, but also connects us to the artist's hand and, by extension, her presence in the scene itself. Hailing from Melbourne, Australia, Persson’s genuine curiosity and appreciation for our East End landscape draws our attention to moments that we may often take for granted; the reflection of a docked boat in the water, the view of wind-rippled Peconic bay through blossoming flowers, a garden full of bright roses… Beauty that surrounds us even in the off season that, as we rush about our busy lives, Persson’s paintings ask us to slow down, to cherish, to stop and smell the roses. 

In Solo Sailing Past Havens Beach Emily Persson presents a portrait of a long-standing native tree. This tree, a detail of the landscape easily overlooked, Persson chooses this as her focus; the attention itself drawing out the beauty of the mundane. Her handling of the paint can be studied throughout this composition. From the delineation of each blade of tall, dry grasses in the foreground, to the thick layers of woody bark coating the tree’s trunk. Smooth swathes of blue and white give the sky its vast domain, which is intersected by the reaching branches and the fluttering green leaves of our subject.  Finally, a single sailboat rests along the water’s surface; reasserting our place in Sag Harbor. 

In Roses on Roses, Persson’s skillful employment of the palette knife shines as she produces layer upon layer of rose petals, each repetitious mark rippling throughout the painting in similar effect. Her cohesive style unites the composition, creating a vibrant impression of light, shadow, and the beauty of spring. The tactility of Persson’s paintings introduces an unexpected and engaging element to these familiar scenes of the local Sag Harbor landscape. 

Marc Dalessio (b.1972, California) is one of the world's leading plein air painters and is known internationally for his supreme skill and passion for capturing the present. This year, we are lucky to receive two studio paintings of Montauk’s cliffs, and of Main Street Sag Harbor. Furthermore, we will unveil new plein air paintings from his travels around Europe, from Italy, Spain, and France. Marc Dalessio dedicates his focus to light, color, and the subtle beauty of his subjects. 

His plein air landscapes, which range in subject from exotic locations around the world to his own backyard, attempt to capture both the present and the history of the environment, touching our soul with his own unique view. In “Mont-Saint-Michel” he turns his attention to this historic sanctuary in Normandy, its stunning location off the north-western coast of France. In this painting, the eponymous landmark sits a journey away from his vantage point, largely observing the open land around it. In all his works, his dedication to capturing the light, color, and the subtlety of his subjects, enraptures even the most casual observer.

In Rome Sky, Dalessio toes an intriguing line, his landscapes both impressionistic, subtle, and soft, but also deeply real and accurate. His interest lies not on the landmarks of this historic city, but in the subtlety of light through the clouds above the complex geometry of the Italian cityscape overall. Here he combines elements of representation with what look playful brushstrokes, all the while, each precise mark is actively bringing the environment to life. This skillful act of knowing just how much detail to provide, and what to withhold, is a testament to Dalessio’s mastery through his 30+ years of painting.

In Marc Dalessio’s seascapes and horizons, we see his enthusiasm for deciphering all the effects of light. He recognizes that a bright sunny day is not just expressed through the sky, but the sparkles in the sand, the water, the glare of a far-off window. In The Beach at Saint-Malo, the sun is even reflected off the brims of beach umbrellas, drawing the light in the clouds down to the wet sand on the beach, and ones eye is drawn back to the white mark on the horizon in the far-off mountains. These details are what truly bring us into the scene, the sea air, the breeze, the smell of sunscreen, all of which is shared with us through Dalessio’s sharp eye, and his passion for painting out in nature. 

The Grenning Gallery is pleased to present our latest exhibition: Tight Lines; A group exhibition showcasing contemporary paintings executed with precise detail,  largely inspired by the lives and lore of fishermen, and the sea. Anchored by our newest (and youngest) artist, 26-year-old Rolf Hellem, who’s upbringing in Norway influenced these major works. Also on view are works by Daniela Astone, Marc Dalessio, Terry Elkins, John Morfis, and Rachel Personett. 

This exhibit will hang from Saturday, March 15th, through Sunday, April 13th. Please join us for an Opening Reception on Saturday, March 15th, 5:30-7:00 PM.

Rolf Hellem (b 1998, Norway) grew up on the coast in Norway, in a small town above the Arctic Circle. He has fond memories of taking trips to Lofoten, the group of islands above Norway’s mainland, known for its tranquil natural beauty and historic fishing villages. Hellem would fish with his family, and would come across the local fishermen tending to their daily tasks. Whether it be before the sea outing, as seen in “Anticipation”, where they sit along the dock, patching up holes in their nets, chatting and smoking a pipe, or after the catch, when they pull the boat back onto shore in “The Fishermans Fight”… Hellem offers both quiet contemplation and active labor in his largest figurative compositions. Although originally inspired by his time in Norway, we have no trouble associating them with our local traditions here in Sag Harbor. 

Hellem studied in the classical academic tradition for the last 6 years at The Chiaroscuro Atelier in Florence, Italy, which focuses on painting from direct observation, and mastering structures of the human anatomy from any and all angles. Due to this demanding and exacting training, Hellem is now able to paint figures from his imagination. All of the figures portrayed are inspired by the fishermen he would see growing up, but are totally invented in his own mind. Hellem used his brother as a model to render the strained muscles of the many gripping forearms and planted feet in “The Fishermans Fight.” The clothes were found and recorded while shopping in many thrift stores. Now that Hellem has formed this entirely original cast, he is able to tell stories with each character. Of course, great paintings from art history were also on Hellem’s mind when conceiving “The Fisherman’s Fight”, most notably from Ilya Repin’s “Barge Haulers on the Volga”. Hellem is a sharp, precise, and detail-oriented person. Very inspired by 19th century paintings – “I want to find this path that is a mix of 19th century style, with badass brushstrokes – like Repin, from afar it looks refined and upclose its wild brushstrokes.” 

Marc Dalessio’s (b. 1972, California) “Volpaia with Trees” is one of the most ambitious landscape paintings we have ever handled, and we are pleased to include it in this show.  His ‘tight lines” can be seen in his extraordinary accuracy to the scene – not only in lines and drafting, but also his polished rendering of the atmosphere.  Dalessio’s high level of craft combined with his obedience to nature as his guide to color, light, value, and tone allows the viewer to truly enter this scene when standing in front of it. Dalessio is well known for his precision and excellent composition, yet this works stands above even his high standard of work. Rarely have we ever seen any painting of this quality in this scale, at nearly 10 feet wide x over 6 ft tall!  Also on view will be a selection of Dalessio’s masterful plein air paintings from around the world, from California, to Long Island, as well as Europe’s many beautiful beaches and coastal ports. 

Daniela Astone (b. 1980 | Pisa, Italy) inspired by her dreams, presents surrealistic compositions of figures floating in water. For Dancing Love, Astone brought professional dancers into her studio and let them improvise as she painted them. She decided to paint this particular position the dancers held for only a moment in a larger canvas because she loved the way the dancers' bodies intertwined in not a typical freeze-frame grande jete or lift. She placed the dancers in deep water as part of her surrealistic series of figures floating through ethereal space. Les Deux Moités, or, The Two Halves, continues this theme. A man and a woman, fitting perfectly together with ease, share a tender embrace. Their bodies float above the sea floor and glow against the dark blue background. Although surreal in subject matter, Astone’s figures are executed with precise accuracy in color values as well as anatomical form. Also on view from Astone, are her plein air paintings of local Sag Harbor spots known for prosperous fishing – under the Bridge, or at the still-water’s shore. 

Terry Elkins (b. 1951 | Mississippi) was drawn to the East Coast to forge his career as a painter. When Elkins first came to the South Fork of Long Island in the late 1980’s, the culture was slow-paced, humble, and centered around an economy of independent fisherman. Every day, Elkins would witness Baymen set out to sea in their dories, to cast nets offshore and earn a living from their catch. Elkins began drawing on maps soon after he moved into his Sagaponack studio in 1988. Former resident Neil Williams left behind a set of nautical charts covering eastern Long Island, Maine, Nantucket, Martha’s Vineyard and Cape Cod, which became his canvas. 

Elkins says: The charts helped orient me to a coastal geography where I was, surrounded by ocean, bays, coves and inlets. I began to use the charts as a background for images that might be seen throughout these locations. This developed into a series of drawings on charts of lighthouses and other nautical imagery, like dories and ships. Composition is an important aspect of combing the two mediums, collage and drawing. For instance, I’m using a chart of Marshall Point for the lighthouse there. The drawing needs to work with the open areas of water juxtaposed with island shapes. The collage is the fun part while the drawings can take days and weeks to develop. It’s important that one doesn’t overpower the other. That balance gives the image a better sense of space within the borders.  

John Morfis (b 1976) continues to work hard at tackling the art of trompe l'oeil. One of the interesting things about Morfis, is the unique items he chooses to paint. They range from old tools to crab shells, and more often than not, his chosen subjects are sentimental objects; old fishing paraphenalia from his childhood, or humble clothing from a beloved family member.  "Paul's Jacket" is the largest canvas Morfis has delivered to date. A classic red tartan flannel zip up jacket his late Uncle Paul used to wear, hangs on a wooden hanger from a single nail in the wall. All of which is depicted against a grey backdrop, true to Morfis's signature style.

Rachel Personett (b. 1991, Hawaii) having travelled the world for most of her life, as the daughter of a pilot, Personett naturally draws inspiration from landmarks and unique locations from her travels. For instance a lighthouse, or a large rock formation like “Arch Rock” in Oregon, or “St. Michael Mount Nocturne” outside Cornwall England. Each of these sites serve as a beacon to the mainland.