Depeche Art - April 2017
Just as the title of his latest series implies, DC-based artist Stephen Benedicto’s “Convergence” amalgamates his past work into a common whole. The artist has long-held a fascination with the technical aspects of his work. “Convergence” examines the technical aspects of light and the interaction of audiences with visual art in an age of technological distraction.
Benedicto’s current series manipulates light into simple and reminiscent forms, showcasing its various behaviors. Benedicto studied aesthetics and approaches his work with an unconventional eye, many of his pieces examining technical components expressed through his stark, minimalist aesthetic. Benedicto’s work has been featured in numerous exhibitions and national collections. This year, his work was shown at EMULSION 2017 and Artist Proof Gallery.
When asked about jazz, Louis Armstrong declared, “If you gotta ask you ain’t never gonna know.” Similarly, if you must ask the about what jazz has to do with the Foundry’s all-gallery members show in April, you won't ever know either! However, audiences will quickly understand the visual representations of the musical genre through the works of Patsy Fleming’s New Orleans-inflected “Jazz” or Brian Truesdale’s “Thelonius Totem.”
The group exhibition employs improvisatory technics just as its musical counterpart does. Kathryn Wiley’s “Burnt Sienna Blues” reflects moodiness, while Gregory O’Hanlon’s “Hirshhorn II” postulates rhythmic disjunctions. On April 29 the gallery will pair the visual rhythms with a jazz concert by the Herman Burney Quartet, all of which celebrates Jazz Appreciation Month in April.
Gallery Neptune & Brown
Jowita Wyszomirska's work centers on fleeting phenomena that are captured for a moment, only to disappear just as quickly. The artist cites as examples “a cloud casting a shadow as it crosses the sun, the ever-changing shoreline where land and water meet, the sensory experience of the wind, and the warmth of a shimmering light touching the skin.” Wyszomirska recently used satellite imagery from NASA to observe the ever-changing Chesapeake Bay region. However, in “Vanishing Point” she shifts her focus to the effects of climate change by observing the retreating ice of the North American glaciers. She translates actual data into artistic forms to produce effects juggling representational elements, such as observed data, and abstract elements that she carefully layers during her creative process.
Jowita Wyszomirska was born in Poland and moved to Chicago in the early 1990s. She has a BFA from Illinois State University and an MA in fine art from the University of Maryland. She has exhibited nationally in solo and two-person shows. Her honors include residency fellowships at the Jentel Foundation, Wyoming; Kimmel Harding Nelson Center for the Arts, Nebraska; and International School of Painting, Drawing, and Sculpture in Umbria, Italy.
Harvey Kupferberg studied chemistry as an undergraduate and earned two doctorates, one in pharmacy and the other in pharmacology. He spent 32 years working as a medical researcher at the National Institutes of Health in Bethesda. Now retired, Kupferberg continues to experiment, this time as an artist using his preferred medium, photography. Approaching his subject-matter with the serendipitous discipline of a research chemist, Kupferberg experiments with exposure and development techniques. His solo exhibition “Art in Nature: Light to Dark” is a black-and-white chronicle of Southwestern desert landscapes. Kupferberg’s works have been accepted for exhibition at the Frazer Gallery, the Maryland Federation of Art, the Washington School of Photography, and the Howard County Arts Council. Three of his images have received first-place awards in the Washington Post photo competition. “Live Oaks in Fog” won the landscape gold award at the FotoDC 2008 competition.
Janathel Shaw’s April solo show, “SOLIDAREity!,” affirms the status of blacks in the United States. Shaw will exhibit a series of figurative pieces and portraits of men, women, and children looking boldly into the present and the future. Inspiration for this new series comes from the souls, activists, and communities that have added to the richness of the American landscape. The portraits incorporate texture, deep lines, and an anchoring in contrast. Several pieces are rooted in a defiant solidarity of consciousness, soulfulness, and personal voice. Others are dark in tone as a reminder of our current political climate. Says the artist: “Our political climate is even more divisive, driven by fear and prejudice. What has birthed from this movement is a reawakening of rebellion and solidarity on the grassroots level and national level. We are not going to return to periods of dark racist times. Jim Crow will not be embraced and our young are going to continue to keep marching.”
Exhibitions on View