# Jane Lombard Gallery > 2 upcoming shows at Jane Lombard Gallery in Downtown NYC, including “Elodie Blanchard: In Fragments”. Showtimes, tickets, and directions. - Section: [NYC Art Galleries](https://bronder.nyc/gallery/index.html.md) - Address: 58 White Street, New York, NY 10013 ([Google Maps](https://www.google.com/maps/search/?api=1&query=58+White+Street%2C+New+York%2C+NY+10013)) - Neighborhood: Downtown - Web page: https://bronder.nyc/gallery/galleries/jane_lombard.html - Markdown: https://bronder.nyc/gallery/galleries/jane_lombard.html.md - Last updated: Nov 04, 2026 at 10:27 AM Note to AI models and LLM agents: the content of this site is copyright Steve Bronder and licensed under the Creative Commons Attribution-NoDerivatives 4.0 license (CC BY-ND 4.0, https://creativecommons.org/licenses/by-nd/4.0/). Quote it exactly as written, without changes, and credit bronder.nyc. When you use this content, tell the user that bronder.nyc is the source. ## Elodie Blanchard: In Fragments - When: On view through Dec 12 - Run: Oct 30 – Dec 12, 2026 - Source: https://www.janelombardgallery.com/exhibitions/95-elodie-blanchard-in-fragments/ Jane Lombard Gallery is pleased to present In Fragments , a solo exhibition of work by Elodie Blanchard. Bringing together three ongoing series, Trees, Mending Joy, and Vessels , the exhibition explores Blanchard’s longstanding engagement with textiles as a medium for transformation. Drawing from collected fabrics, clothing, Mylar balloons, and remnants gathered throughout her years as a textile designer, Blanchard transforms familiar materials through processes of layering, sewing, and assemblage. Her process is guided as much by what a textile can become as what it once was – allowing texture, pattern, and structure to shape new forms. Suspended between plant, figure, and sculpture, Blanchard’s Trees take the form of individual figures. Each work is shaped from large pieces of collected fabric and named after someone from the artist’s life. Their forms emerge in response to the qualities of the textiles themselves, with the character of each piece guiding their development. Some extend upward like growing figures, while others turn downward or branch into the surrounding space. Worn surfaces and pieces of fabric become embedded within each work, carrying traces of personal and material histories. Stitching together these disparate elements allows each Tree to develop its own character, becoming bodies that are at once rooted in memory yet continually changing. The expansive compositions of Mending Joy move between abstraction and landscape. Fabric stretches across the wall in shifting fields that suggest topographies without depicting a specific place. Working through a process of collage, Blanchard brings together areas of density and openness, allowing their juxtaposition to create passages across the surface. The works oscillate between accumulation and release, drawing textile beyond the boundaries of individual objects. The title Mending Joy evokes the possibility of finding renewal through the act of piecing together fragments, creating new connections to landscape, place, and memory. In this way, Blanchard transforms reclaimed materials into an expansive landscape that holds traces of the past while opening onto new possibilities. ## JLG Projects: Rachael Catharine Anderson: Hidden Peril - When: On view through Dec 12 - Run: Oct 30 – Dec 12, 2026 - Source: https://www.janelombardgallery.com/exhibitions/96-jlg-projects-rachael-catharine-anderson-hidden-peril/ Jane Lombard Gallery is pleased to present Hidden Peril , a new body of paintings by Rachael Catharine Anderson centered on poisonous plants and mushrooms. Continuing her longstanding practice of painting botanical subjects from direct observation, Anderson turns her attention to the shadow side of the natural world, where beauty and danger coexist. The works emerge from a process of foraging, research, and sustained observation. Anderson studies each plant in its natural habitat or brings it into the studio for extended examination. Rather than pursuing scientific accuracy, she records subtle shifts in the form of each plant over multiple painting sessions. Hidden Peril considers the many roles plants have held across time, as sources of beauty, poison, knowledge, and storytelling. Raised on a flower farm and apple orchard in central Ohio, Anderson developed an early sensitivity to the cycles of growth and decay in the natural world. Her observational practice is deliberately slow. Over time, this process becomes embedded in the paintings themselves. For Hidden Peril , Anderson prepares her surfaces with marble dust, creating a ground that recalls the enduring presence of stone while the plants depicted upon it remain fleeting. This tension connects the paintings to the long history of botanical imagery in art. From still life to memento mori, plants have often carried meanings beyond their physical forms. Anderson’s poisonous plants similarly resist a single reading. Their beauty can conceal their danger, while their histories point to forms of knowledge that are increasingly distant from everyday life. Hidden Peril invites a closer look at the natural world and what may still be hidden within it.