Subtle Transformations: The Art and Artists of Soft Shadows
Written by T.K. Mills
Published on April 1st, 2026
In life, transformation isn’t always a matter of grand metamorphosis – rather it’s more often about the gentle changes that happen within us over time. This is the ethos of ‘Soft Shadows,’ an exhibition curated by Daphney Estrada at Bushwick Gallery. Featuring the works of Gina Keatley, Rachel Herring, Yulissa Cortinas, Aubrienne Bergeron, Eva Mesa, Helen Zhang, Johanna Arganbright, Kevin Jackson, Moira Kelly, Ronnie Williams, Sandra Tan, Spencer Patrick, and Valentina Benaglio, the show was on display from Thursday March 19th to March 26th, but although the work has come down, it continues to resonate.
Bushwick Gallery was founded by artist Gina Keatley at the end of 2024, after realizing there was a need to create an elevated space for local creatives. “I was originally going to start my own studio. I live in the neighborhood, and I thought, ‘there are so many artists here, and this area is becoming the new Chelsea.’ It felt like a missed opportunity not to build relationships and grow alongside other artists… This became a way to stay connected, support other artists, and give them a platform.”
In her own art, Keatley tends toward large conceptual canvases, working with limited color palettes and abstract elements. “My work falls under what I call Untamed Moderns. I create large-scale pieces in series—I don’t work one at a time.” The 3 pieces displayed at Soft Shadows were part of her Latitude Series. “It’s about expanding inward—making room within yourself. We always talk about growing outward, but growth inside is just as important. Allowing yourself to fail, to be bad at something—that’s where strong work comes from.”
Since its inception, Bushwick Gallery has hosted dozens of shows as well as artist residencies, with Keatley working with artists to build both their work and professional presence. “Space is the most valuable thing in New York, so giving artists a place to work freely is huge. We also help artists with things like SEO, providing profiles, and give them tools that help their careers. This is an artist-driven gallery. I want everything—press releases, profiles, clickable links. Even if the work doesn’t sell immediately, I want it positioned to sell.” She continued, “At the end of the day, we’re not doing this for cold hard cash. I want it to be interesting, impactful, and enjoyable. I want artists to walk away thinking, ‘that was an awesome gallery experience!’
“This is an artist-driven gallery… At the end of the day, we’re not doing this for cold hard cash. I want it to be interesting, impactful, and enjoyable. I want artists to walk away thinking, ‘that was an awesome gallery experience!’ – Gina Keatley
Curator Daphney Estrada, (who UP has profiled in the past), connected with Keatley and Bushwick Gallery through an internship program at Pratt Institute, where she is currently pursuing a Master’s Degree in Art History. “[Bushwick Gallery] immediately caught my eye. I knew I had to go for it.” While the theme of Soft Shadows was already established, she took the skeleton of the concept and fleshed it out. “It really pushed me out of my comfort zone—in a good way. I had to actively seek out submissions, and from there, it became about selecting artists who embodied the theme. It was a fun process but also challenging since it was my first time curating. Still, everything came together slowly but surely.”
Estrada continued, “It felt very seamless. As much as I love making art, I’ve always wanted to step into a role where I could showcase other people’s work. I love art history. I love understanding the process—what goes into a painting, a photograph, a sculpture. I’m really drawn to that, and I love highlighting it and sharing it with others.”
In terms of selecting pieces for Soft Shadows, Estrada relied on instinct to decide which were the best fit amongst the multitude of qualified submissions. “When I saw certain pieces, I just knew—’that’s the one, it has to be in the show.’ I was already envisioning the exhibition layout in my head while reviewing submissions, so the process felt natural.”
“It felt very seamless. As much as I love making art, I’ve always wanted to step into a role where I could showcase other people’s work. I love art history. I love understanding the process—what goes into a painting, a photograph, a sculpture. I’m really drawn to that, and I love highlighting it and sharing it with others.” – Daphney Estrada
The open-call for submissions stated, “Soft Shadows explores the gentle tension between light and darkness—where growth, clarity, and transformation quietly unfold. This exhibition invites works that embrace subtlety, contrast, and quiet power.”
One artist, Aubrey Bergeron, was motivated to submit by theme. “I’ve wanted to submit my artwork more this year and felt the Soft Shadows theme fit perfectly,” she said. “I’ve been exploring memories and personal symbols through watercolor and ink in shades of blue and blacks. The paint and ink shift and blur, leaving faint impressions, sometimes feeling just like shadows.” Based out of Portland, Oregon she had been looking to submit to shows when she came across the open-call that seemed to call to her work. “My artwork has been focused in watercolor, often working in a very loose fluid style, exploring light, atmosphere, memories, ghosts and dream spaces.”
Ronnie Williams was one of the selected artists, who found the submissions call online. Originally from Houston Texas, he moved to New York a decade ago and began his artistic practice during COVID. “When the world shut down. I was working at the time, and during meetings I’d just be doodling in the background, not really paying attention. My best friend, who’s an interior designer, noticed and asked me to make him a piece. He ended up placing it in a home, and the buyer asked if they could purchase the artwork.” Inspired by the sale, he eventually quit his job and began painting full time.
“I was thinking about that soft, beige tone, but also layering in darker undertones. It reminded me of working late at night—those subtle shadows.” – Ronnie Williams
Williams’ work emphasizes elements of texture amidst an abstract palette. “When I moved to New York, everything felt intense—like the city was screaming texture at me. I started incorporating that into my work using whatever I could: linens, sand, spackle—anything and everything.” For Soft Shadows, he knew which pieces would be a great fit upon reading the thematic description. “I was thinking about that soft, beige tone, but also layering in darker undertones. It reminded me of working late at night—those subtle shadows.”
“I came across the application online and had a few pieces that felt like they aligned with the exhibition’s statement. After connecting with [Daphney], it just felt like a natural fit.” Spencer Patrick explained. Patrick’s work often explores themes of artificial life — “creating environments that are entirely manmade and removed from the natural world we originally came from. Within those spaces, I place a central figure navigating that environment. A lot of my work tends to use harsher shadows, but this piece gave me an opportunity to explore something more spiritual. The figure in the painting is in a prone position, which speaks to someone getting in touch with their inner self.” He continued, “it’s not something I usually lean into, so this piece really stood out to me as a strong fit for the theme.”
“A lot of my work tends to use harsher shadows, but this piece gave me an opportunity to explore something more spiritual. The figure in the painting is in a prone position, which speaks to someone getting in touch with their inner self.” – Spencer Patrick
Beyond traditional painted canvases, the exhibition also featured photography such as the work of Kevin Jackson. Jackson found out about the Soft Shadows through social media and decided to apply even though his typical work varies from theme. “The piece I submitted is pretty different from what I usually do. Right now, I’m focused on street photography with a heavy emphasis on blur—more chaotic, more scattered. This piece is a lot calmer and more serene by comparison. I really love landscapes—going somewhere beautiful, capturing it, and bringing that feeling back to people who haven’t experienced it themselves.”
While he is generally drawn more to the intensity of city-life, Soft Shadows gave Jackson an opportunity to pull from his roots. He was born in D.C. and raised in Maryland, arriving in New York about a decade ago when he came for school at NYU. “I was a suburban kid — close enough to the city to go in on weekends with friends. It’s interesting, though—my relationship with D.C. feels more like childhood memories, whereas New York feels more like home now. It’s where I’ve really built my life.”
In the spirit of ‘the gentle tension between light and darkness—where growth, clarity, and transformation quietly unfold’ that Soft Shadows embodies, artist Valentina Benaglio stated “I’m a Mexican-Italian artist based in Brooklyn, New York. I moved here a few years ago, and that experience of displacement, adaptation, and finding a sense of belonging has deeply shaped my work.” For Benaglio, “The theme didn’t feel like something I had to adapt to, it felt very natural to the work I was already making, which made the decision to submit pretty intuitive… It’s not about contrast in an obvious way, but about the quieter tension between light and darkness, presence and absence.” Describing her own art, she explained, “My practice is rooted in painting, mostly oil on canvas, and it centers around memory, identity, and emotional landscapes… it’s a very emotional and process-driven approach.”
The opening night was an electrifying evening for all involved. In the words of the curator, “The energy was amazing. People were really engaged—asking questions, interacting with the work. They were connecting with the art, which is so important.” One of the highlights of the opening reception was the sale of Benaglio’s art. “It felt really special, especially because I was able to meet the collectors in person. That gave me the chance to share more about the story behind the piece and what it represents, which doesn’t always happen. The sale itself was exciting, but that connection is what made it meaningful,” the artist explained.
Truly, it’s the connections that make things meaningful. “Shoutout to Bushwick Gallery for including me and Daphney for curating! This past month has been great, so I’m just hoping to keep that momentum going.” Jackson said as we wrapped up our interview. “The exhibition was great—I can’t recommend Bushwick Gallery enough. As for my work, I’m continuing to explore the contrast between artificial life and the natural world we came from. That’s a direction I’m excited to keep developing in future pieces,” Patrick said looking forward.
Perhaps the transformation Soft Shadows evokes is less about resolving tension and more about learning to live within it—to sit in the uncertainty, and let it shape you. For curator Daphney Estrada, the exhibition was more than just an art show. Between selecting artists, hanging the work, and even giving a speech on opening night, the Soft Shadows pushed her to step into her own quiet power. “I’m a very anxious person, and I’ve had to learn how to navigate that. I’ve realized that the anxiety doesn’t necessarily go away—you just grow around it. It’s been a lot of trial and error. Even when I make mistakes, there’s always something to learn from them… I’m a pretty introverted person, and I internalize a lot—but art is where I fully express myself.”
T.K. Mills is the Editor-in-Chief of UP Magazine, a street art publication based in New York City. After receiving a Master’s Degree in Global Affairs, he discovered a love for graffiti while backpacking through Cuba and pursued life as a writer. Outside of UP, T.K. enjoys writing poetry, personal travel essays, and occasionally short stories. His work has been published in The Smart Set, The Vignette Review, Genre Urban Arts, and Eternal Remedy among others. Beyond art, T.K. loves reading and traveling.
Insta: @t.k.m85
Website: www.tkmills.com