In “Unscripted” Lina Alattar takes an interest in the outcomes of “making mistakes” while creating. These so-called accidents provide the artist with an opportunity to begin working on new paintings. As she sees it, these blotches and blurs of ink and paint allow her the “freedom to toil with paint and the chance for something new to emerge. This process contradicts our existing condition of perfection that can often lead to cold and sterile experiences. As we become more dependent on automated, machine-produced realities, we lose our comfort level with making the accidental work to our advantage.” However, during the course of the artist’s work on this series, these “accidents” take on a more deliberate role, becoming her process as she pours and splatters paint, ink, and spray paint. The artist gains greater skill in interpreting the random outcomes of her new-found process and transforms the random into the formed, shaped, and deliberate. Much as scientific discovery often derives from serendipitous research, Alattar’s improvisations have led to a body of work with a developed sense of composition, an insightful balance of color, and a series of discernible forms.
McCain McMurray has expressed in “Immersion” a lifetime of memories, a kaleidoscope of primary colors in harmony to reflect the ever-changing, clear waters of the Caribbean. Colors and forms play off each other and develop visual streams of consciousness. Long vertical forms draw the viewer into the work, creating an immersive experience. McMurray’s process, which uses acrylic paint as a medium, begins with an unprimed canvas upon which he allows pigments to stain the fabric through absorption. He then uses these marks to guide him through the finished process, where multiple applications of paint, diluted at each sequence, layer to create the final work. The images are incidental. The artist has created a series of painted essays which culminate in a single narrative about experiences and how they reflect in space.
Christie Neptune’s “She Fell from Normalcy” is the third and final installment of the multimedia series “Eye of the Storm,” a body of work that examines how constructs of race, gender, and class limit personal experience. The exhibition also marks the artist’s first solo show in DC. Neptune uses a variety of media including photography, film, and experimental methods to deconstruct what she calls a “hegemonic system of whiteness” that defines who we are in society. Neptune focuses on the impact this “system” has on people of color, in particular their emotional and mental health.
Using sound, installation, text, and video, Neptune subverts the “system” by creating an environment in which race, gender, and class do not exist. She has set a stage where two women have been trapped in a “sterile, white environment,” controlled by “an unseen presence.” Only once a fissure occurs, leading to a collapse of the “system,” do the two trapped female subjects come to possess “clarity and self-recognition.”
Long View Gallery
Laura Berman draws inspiration from landscapes ranging from the vast to the smallest scale. Recently she has spent much of her time in the middle of Kansas, the Flint Hills region. The artist compares the endless landscape to “nothingness,” where neither trees nor people live and where not a thing can be found. She likens the experience to being out at sea. She states, “Out there the distance between sky and land is short and unmediated.” Her new body of work, “Ebb and Flow,” reflects “the slow and dramatic connections between enormous spaces on and beyond our earth and dense details found in environments of transition such as blades of grass and rocks on a beach. These coalescing landscapes are all born of stardust and motion. Everything is related – and nothing is identical. Stars follow this pattern, as do planets, and rocks and people.” Berman's latest print series in “Ebb and Flow” reflects her universalist philosophy of the oneness in everything.
For collectors with an affinity for landscapes, Foundry Gallery’s “Take It Outside” provides a broad range of work. In this group exhibition, about a time-honored and often traditional subject, a number of paintings and photographs reflect interpretations of the outdoors by Foundry Gallery member artists. While more representational and traditional examinations of the landscape can be found, other artists have discovered less conventional, expressive outcomes for the way in which they view the world beyond the confines of the home.
Exhibitions on View