Current Exhibition
DC Gallery & Studio is pleased to present southern New Jersey based visual artists Jorge Azcona and Aaron Weber in our brand-new exhibition, Outside the Box.
Mark your calendar and join us for the closing reception of Outside the Box on Friday, September 18, 2026, from 6-8pm at DC Gallery & Studio.
At the closing reception of Outside the Box, meet the exhibiting artists, listen to live music & poetry, enjoy light fare, drinks & great company. As always, this event is free and open to the public; we hope you join us!
Our new exhibition, Outside the Box, is on view in our gallery from August 21 – September 30, 2026.
DC Gallery & Studio is located at 508 N. High St. in Millville, New Jersey, 08332.
Business Hours:
Mondays - Thursdays: CLOSED
Fridays: 11am - 4pm
Saturdays: 11am - 4pm
Sundays: 11am - 4pm
- Or by appointment -
Please email danielle@dcgallerystudio.com to schedule your appointment!
About the Artists:
Jorge Azcona is a multidisciplinary artist based in Atlantic City, New Jersey, working under the name Spiral Eye. A self-taught artist, his work spans collage, printmaking, acrylic painting, digital illustration, zines, silkscreen, and mural-making. He earned a Bachelor of Science in Business Studies from Stockton University and a master’s degree in museum leadership from Drexel University, experiences that continue to shape his interest in the relationship between art, culture, and community.
Drawing inspiration from American traditional tattooing, punk culture, Mexican and Indigenous heritage, and the DIY ethos, Spiral Eye creates bold, graphic imagery that merges cultural symbolism with contemporary social commentary. His work explores themes of identity, cultural memory, resistance, belonging, and political activism while embracing satire and humor as tools for reflection and conversation.
Graphic design serves as the foundation of his creative practice. Most works begin as digital drawings before evolving into paintings, prints, collages, murals, or other physical forms. Characterized by strong linework, limited color palettes, and imagery influenced by tattoo flash, his work combines contemporary design with references to indigenous and Mexican traditions, 1990s alternative culture, and underground art movements.
Whether creating gallery work, public art, or self-published zines, Spiral Eye views art as a means of preserving culture, challenging dominant narratives, and fostering genuine connections between people and the communities they call home.
My work is rooted in a personal search for identity. I create artwork to reconnect with my Mexican and Indigenous heritage, traditions, and history while embracing the influences that have shaped who I am today. Punk music, the DIY ethos, and tattoo culture are just as much a part of my visual language as Indigenous symbolism and Mexican culture. Rather than seeing these worlds as separate, I use my work to explore where they intersect and how they can exist together.
For me, making art is an act of cultural reclamation. It is a way of learning, remembering, and rebuilding connections that have been disrupted by colonization, assimilation, and distance from my ancestral roots. Each piece becomes part of an ongoing conversation with my heritage—one that acknowledges the past while reflecting the realities of contemporary life.
I also believe that art is inherently political. Every creative decision communicates values, perspectives, and experiences, whether intentionally or not. Because of this, I embrace art as a form of resistance and activism. My work addresses themes of identity, community, cultural survival, social justice, and collective memory, while also celebrating the resilience, beauty, and strength of the communities that inspire it. Some works confront injustice directly; others celebrate culture as an act of resistance.
Working across many mediums such as painting, collage, printmaking, murals, zines, and digital illustration, I combine bold graphic compositions with imagery influenced by tattoo flash, punk aesthetics, and Mexican and Indigenous visual traditions. Regardless of the medium, my goal is to create work that is honest, accessible, and rooted in lived experience.
Ultimately, my practice is about finding myself through the act of making. Every piece is another step toward understanding my own identity while inviting others to reflect on their own histories, cultures, and the stories that shape them.
Aaron Weber is an artist and educator based out of Woodbury, NJ, where he also teaches Art at the 3 local elementary schools. Aaron acquired a BA in Art of sorts from Rutgers - Camden, and a MA in Teaching Visual Arts from the University of the Arts that once existed in Philadelphia. Having a background in photography, but often testing the boundaries of the medium, Aaron now finds himself experimenting with a variety of mediums and often dabbling in different forms of street art.
A leftover piece of canvas from a previous experiment, the rusty lid of a can of paint, a sliver of insulation foam from the hospital being demolished down the road; on top of years of collecting and hoarding art supplies, I also find the need to include strange and obscure objects in my art making processes. I never quite know where my inspiration will come from, but in recent years I’ve learned my creative process is often determined by both successes and failures. An idea can develop and change countless times before I consider a piece finished, but I’m never quite sure if anything I create is exactly 100% complete.
Each of my pieces contains layers. They’re meant to be looked at closely and examined, which is how I prefer to look at art. Explore the layers, the textures. If you feel the urge to gently touch part of a piece, feel free. I can’t imagine my art will last forever, so I would like as many people as possible to fully experience it while it exists, and experience it the way THEY look at art. These pieces contain various types of paint, paper, canvas, cardboard, plastic, metal, and wood. They’re assembled with glue, nails, staples, thumbtacks, tape, and sometimes just gravity. Not one of them turned out the way I wanted, but they all ultimately found a stopping point.