There’s one week left to see ‘Double Take,’ four shows in one at Spalding Nix Fine Art

When talking to Spalding Nix about Double Take, one word kept resurfacing: conversation. 

Double Take, showing at Spalding Nix Fine Art Gallery in Peachtree Hills through July 17, inspires great conversations, Nix said, “which are needed to engage deeper with the art.”

The exhibition is a collection of four shows in Spalding’s distinct gallery spaces by local artists Erin Dixon, Corinna Sephora, Betty Edge and Guy Robinson.

Dixon’s exhibition, On Both Sides of the Door, which is showcased in Spalding’s Red Velvet Gallery, is “quiet” and “contemplative,” Nix said.  

I could not agree more. Two of my favorite paintings were Wedding Dress (2026) and Monstera (2026). 

Wedding Dress features Dixon’s own wedding dress strewn across grass. In her artist talk featured on the gallery’s Instagram, she said she loves rococo paintings where women wear beautiful silk dresses. She wanted to achieve a similar style in Wedding Dress by positioning the dress so that viewers could see through its sheer fabric to an undergarment. In this way, she said, it looks as if a ghost is inside the dress. 

I personally loved the dress’ poofiness juxtaposed against the grass below. Most people are gentle with their wedding dresses; Dixon was willing to dirty hers for the love of art. 

Monstera features greenery, flowers and a statue. The work is both colorful and calming. Viewing it feels like sitting in a quiet garden alone. 

Though Dixon usually creates mixed media pieces, the works showcased in Double Take are oil paintings. She enjoys celebrating oils by showing their texture and leaving brush marks in the paint, she said.

Sephora’s show, Reflections on the Universe, is textured and ethereal. Sephora is a metal sculptor and mixed media artist who has also honed her painting skills in the last 10 years. All these mediums can be seen in Reflections, which explores the connection between the water, moon and spirituality. In her artist talk, Sephora recalled how, when she was young, her mother taught her about the relationship between the moon and tides. 

“The way [Sephora] plays with light and dark colors pushes the 2D to create 3D effects,” said Nix. 

One of her sculptures, Swallowed by a Wave (2026), features waves that show the beauty, danger and power of water. Sephora took photos of waves from different angles to create what she calls a “fantastical version.”

In White Feather on Stone Mountain (2026), Sephora honors Stone Mountain’s indigenous oral history. A friend of hers, a medicine man, told her about a woman named White Feather who would bring her medicine wheel to Stone Mountain to hold ceremonies — and people who would bring quartz crystals. The work, created on a round canvas, features quartz crystal as the feather on Stone Mountain and mica for the moon. A light box installed behind the work makes it glow in certain spots. I loved the incorporation of light in her pieces.

Betty Edge’s exhibition, Encore, is a series of diptychs, each created from two different photographs taken separately. Her deliberate pairing of the photos creates connections.

Edge always wanted to be a photographer, she said in her artist talk, but didn’t start taking lessons until she was in her 50s. She embodies the phrase “You are never too old to follow your dreams or learn something new.” She started off photographing flowers, then veered to more abstract subjects. 

She captures close-up, macro images because, she said, she wants to show people aspects of natural wonders they would normally not see, such as the veins of a flower. Her image Fascination (2/5) (2026) features a wilting flower and a fire. The flower’s colors resemble the flames of the fire. In Drops (1/5) (2026), Edge pairs an image of a white flower dotted with a water droplet, with a tan beach with white waves rushing up to the shore. 

What I love about Edge’s work are the parallels each pair of photos draws that I would probably not have noticed had the photos been separate.

Guy Robinson’s Animism, Alchemy & Reflection is whimsical, playful and surreal. Art, Robinson said in his artist’s talk, presents us with different ways of seeing what we tend to take for granted. Making art, he added, means being in a perpetual state of willingness to be surprised. After he finishes a piece, Robinson said he feels empty.

His piece To Be Announced (2026) speaks to that emptiness. It features an empty square at the center of the work. Originally, he said, he had birds casting shadows into the square, but the shadows showed proximity. He wanted the square to be void, so he removed the shadows. 

In Narcissus (2026), a bird looks at its own reflection. Robinson, a fan of  mythology, said the work is about self-reflection. Birds, eggs and flowers reappear throughout his work. 

While the art featured in Double Take can be viewed online on the gallery’s website, Nix said seeing the works in person is necessary to truly experience them. 

“It’s important to see these pieces to engage all of our senses,” he said.

Double Take is on view through July 17 at Spalding Nix Fine Art Gallery.

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Jhazzmyn Joiner (aka Jhazzy) is a writer, poet and creative spirit with a soft spot for storytelling that uplifts community voices. She’s the editor-in-chief of Three Panels Press and leads communications at L’Arche Atlanta. With a background in gerontology, media and making meaning out of everyday moments, her work lives at the intersection of art, equity and expression. A singer, traveler and lover of bold ideas, she’s often deep in a playlist, scribbling a poem or wandering an art show, dreaming up her next big project.