Where to see art gallery shows in the Washington, D.C., region

ByMary E. Alvarez

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Private identity is a mask, but for Ju Yun it is 1 she stitches herself, working with materials she can make and finds. Her “East Meets West,” just one of six demonstrates in Arlington Arts Center’s “Solos 2022,” collages objects and photographs to symbolically (and playfully) depict the South Korea-elevated Virginia artist. Some of her paintings and wall sculptures invoke masks used in conventional Korean dance, while hanging ribbons and strands of costume jewels generate swaying shadows.

Perform that Ju has shown somewhere else is wildly colourful, and there are shiny reds and oranges in these will work. But the emphasis is on shades of blue, which gleam in opposition to the white partitions like the cobalt-pigmented ornaments of East Asian ceramics. Other conventional features consist of Korean and Chinese text and a practical rendering of a tile roof contained in a society-hopping much larger piece. What distinguishes Ju’s design, nonetheless, is significantly less Korean mementos than freewheeling power.

A further of the solos, Sharon Shapiro’s “Then the Aspiration Altered,” presents a harder-edged kind of montage. The significant-scale collages are based mostly on aspirational pics of affluent, mid-20th-century American suburbia, into which the artist inserts incongruous things. This reflects “the complexities of escalating up woman in the American South,” notes Shapiro’s statement. The ensuing photographs also highlight contrasts amongst prosperous and bad, chaos and security, settled and itinerant. In the vivid “Crossing,” a few migrants battle throughout not the Rio Grande, but a backyard swimming pool. Various American desires, urgent as perfectly as complacent, splash together in the spliced image.

Upstairs in the resident artist’s gallery, Stephanie Lane demonstrates various designs of gestural abstraction. Her huge “Thresholds” paintings incorporate a single in which a multicolored, torso-like condition emerges from darkness and 3 drawing-like images rendered mainly in black asphaltum (a carbon-hefty natural material) on whiteboard. Whilst only some of Lane’s spiraling, spontaneous pictures contain hints of human varieties, they all advise bodies in motion.

Ju Yun: East Fulfills West Sharon Shapiro: Then the Desire Transformed and Stephanie Lane: Thresholds By June 18 at Arlington Arts Centre, 3550 Wilson Blvd., Arlington.

Today’s close to ubiquity of electronic imagery has impressed a few artists to retreat into photography’s earlier. Just one of these technological escapees is Elena Volkova, a Ukrainian-born Baltimorean with an experience in tintype, a mid-19th-century procedure. It captures immediate positives on thin sheets of metallic, yielding little but shimmering black-on-silver photographs. Volkova made use of the archaic technique to make the contemporary “Anacostia Portraits” on show at Honfleur Gallery.

The reason is not particularly documentary. The topics of these formal still empathetic head shots are recognized only by initially names, whilst a handful of photographs incorporate visible clues. Numerous of the persons are artists, a single of whom was photographed with paintbrushes in hand. Most of the sitters are African People in america whose skin tones are rendered abundant and luminous by the high-distinction strategy.

The metal miniatures need close inspection, but Volkova is not this kind of an antiquarian as to insist on that. She also gives electronic enlargements on white paper that are less difficult to discern, and reveal that tintypes blow up fairly well. With their slender depth-of-industry, the pictures do resemble historic artifacts. Nevertheless the poses and expressions surface entirely up to day.

Elena Volkova: Anacostia Portraits By June 18 at Honfleur Gallery, 1241 Good Hope Rd. SE.

The paintings in MasPaz’s “Peace Is Every Step” are so carefully joined by layout and coloration plan that the distinctions amongst them aren’t promptly evident. Some of the parts in the Fred Schnider Gallery of Art display are on paper, others on canvas and a 3rd group — the most exclusive — on shaped wood panels. All are connected by the exact pictorial format: daring black outlines of streamlined natural forms, crammed with blocks of tan and metallic gold.

Born in Colombia and lifted in Arlington, in which he’s based mostly, MasPaz is a graffiti veteran whose nom de aerosol suggests “more peace” in Spanish. Impressed by sojourns in New York Town and South America, the painter produced a fashion that’s as indebted to street tagging as to pre-Columbian sculpture and ceramics. Amongst these artworks’ motifs are flowers and the sun, when patches of gold spray-paint stand for the precious mineral that drew Europeans to what they arrived to get in touch with the Americas.

The wooden-panel pieces are the most dynamic, in section due to the fact their slash outlines adhere to the styles painted on them. Also, MasPaz leaves some locations bare, calling awareness to the wood grain and incorporating a slightly distinctive hue to the narrow vary of beiges and golds. In pics that distill natural objects to graphic archetypes, the unadorned picket surfaces are a remnant of the serious issue.

MasPaz: Peace Is Each individual Stage As a result of June 19 at Fred Schnider Gallery of Art, 888 N. Quincy St., Arlington.

Technically, Robert C. Jackson’s hyper-realist paintings are continue to lifes, considering that they hardly ever depict animate lifestyle-kinds. But the Pennsylvania artist’s humorous scenarios are well-populated with stand-ins for living creatures. Balloon animals, corporate-mascot figurines and a windup chick are among the the inhabitants of the shots in “Back to the Long term,” Jackson’s Zenith Gallery clearly show.

The most prevalent aspects in the artist’s compositions are toys, foods and vintage crates, often emblazoned with gentle-consume logos. Sometimes a single form of edible is juxtaposed with an apt plaything, such as bananas piled beneath a toy gorilla or doughnut holes heaped beneath a miniature police officer. Jackson at times dabbles in art criticism, as when he portrays a balloon animal taped to an summary painting — both equally rendered with precise realism, of course.

The artist has been known as an heir to Pop Art, and he does meticulously copy business imagery substantially as Andy Warhol and Roy Lichtenstein did. But in which all those precursors reproduced labels, pictures and comics, Jackson prefers a few-dimensional products. Alternatively than a box of Cap’n Crunch, for illustration, he consistently portrays a figurine of the cereal-shilling mariner. Concentrating on 3D objects lets the artist to show his amazing common portray competencies, but also to yank them out of context. Exactly where Pop Artwork commented on mid-20th-century culture, Jackson’s paintings conjure his own very little universe, rooted in client society but also detached from it.

Robert C. Jackson: Again to the Potential As a result of June 25 at Zenith Gallery, 1429 Iris St. NW.


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