Baker—Hall is pleased to present a solo exhibition of Francie Bishop Good at Untitled Art, Houston, taking place October 1–4, 2026, at the George R. Brown Convention Center.
Bringing together paintings, ceramics, and digital mixed-media drawings spanning multiple periods of the artist’s career, the presentation traces the restless experimentation that has defined Bishop Good’s practice for more than five decades. Moving fluidly among painting, photography, collage, digitally generated imagery, and clay, she continually revisits and transforms her own visual language.
Autobiographical imagery forms the foundation of Bishop Good’s work. Photographs, family archives, and observations of domestic life—particularly the private worlds of women and children—are layered, obscured, fragmented, and reassembled. Even in her most abstract compositions, traces of the body remain present. Earlier paintings and mixed-media works build richly worked surfaces through expressive paint and collage, while her digital drawings compress images into vivid, flattened fields of color and pattern. Across both, memory operates less as a fixed record than as material: something that can be altered, concealed, and rediscovered.
Bishop Good began working with clay in 2016, drawn to its immediacy during a period of political and social upheaval. Without formal training in ceramics, she embraced an intuitive process of pinching, coiling, and molding the material by hand. Painted in saturated, frequently unruly colors, the resulting sculptures suggest strange botanical forms, bodily fragments, imagined creatures, and protective talismans.
Seen together, these varied bodies of work reveal a remarkably cohesive practice. Whether working through the mediated surface of a digital image or the direct physicality of clay, Bishop Good is guided by curiosity, chance, and an enduring belief in transformation. The presentation celebrates not only the breadth of her career, but also her refusal to allow a single medium—or a single way of seeing—to define it.
Francie Bishop Good (b. 1949, Bethlehem, PA) is a multidisciplinary artist whose practice has evolved from painting and photography to include sculpture, ceramics, and digital collage. Guided by intuition, memory, and observation, her work explores the intersections between personal history and collective experience. In her ongoing Mash Up series, Bishop Good transforms graphite sketches into layered digital compositions where figures shift between presence and disappearance, reflecting the tension between structure and fragmentation.
Beyond her studio practice, Bishop Good is a collector and advocate for women in the arts. With her husband, David Horvitz, she co-founded Girls’ Club, a Fort Lauderdale-based foundation and exhibition space dedicated to contemporary art by women. She serves on the Board of Governors of NSU Art Museum Fort Lauderdale, where she was formerly Board Chair.
Bishop Good is a two-time recipient of both the South Florida Cultural Consortium Fellowship and the State of Florida Individual Artist Fellowship. Her work has been the subject of solo exhibitions at the Allentown Art Museum, Museum of Art | Fort Lauderdale, Museum of Contemporary Art Jacksonville, Art and Culture Center Hollywood, and the Orlando Museum of Art, and is included in the public collections of the Museum of Fine Arts, Boston; Wadsworth Atheneum, Hartford; Patricia & Philip Frost Art Museum | FIU; Orlando Museum of Art; Bass Museum of Art; and the NSU Art Museum Fort Lauderdale. She lives and works in Fort Lauderdale, Florida.
Baker—Hall is a contemporary art gallery founded by Amanda Baker—Hall in 2024. It is the successor to her previous project, Club Gallery. The gallery aims to promote emerging and mid-career artists through a fresh curatorial approach, while also offering comprehensive art advisory services. Baker—Hall specializes in painting and sculpture across narrative and non-objective styles, with a focus on collaborating with private collectors and prominent corporate institutions. The gallery boasts a robust exhibition schedule, featuring a minimum of eight rotating exhibitions each year.
Baker—Hall is a proud member of NADA.
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