Depeche Art - February 2017
“EMULSION 2017” will take place over a two-week period centering on an exhibition that includes an opening reception with an award ceremony and a series of artist talks. One of the region’s leading visual art events, “EMULSION” provides artists with the opportunity to win cash awards and exhibit their work in a well-publicized and public forum. It has helped propel the careers of participants by connecting them with acclaimed regional curators, gallerists, and arts organizations.
An emulsion combines two seemingly incompatible ingredients to produce a third, entirely new substance. In this spirit “EMULSION” seeks to combine cultural differences into a blended exhibition with a wide array of art forms and expressions. An open call to all artists who reside or work in the Washington-Baltimore metropolitan area yielded 250 entries. Of those, juror Deirdre Ehlen MacWilliam, public art manager for Arlington County, selected 66 artists working in all mediums. Participants compete for a total of $4,000 in cash prizes.
“EMULSION 2017” is produced by East City Art and curated by Mary Ellen Vehlow, director of Gallery O on H.
Hee Hyoun Chung’s new paintings are based on memories of a trip through Cuenca, Spain, many years ago. “Walking away from the tourist attractions one day,” she remembers, “suddenly I came upon an alley of small, charming houses with colorful gardens. There was nothing grand to impress the passing traveler, but I felt a flash of joy at its unpretentious simple beauty.”
Brian Truesdale’s latest work combines densely painted surfaces with bold marks emphasizing the figurative elements of abstraction. “A nest of lines can convey anxiety or mystery,” he says, “while an intense stripe of color, frayed at the edges, can symbolize a leap into ecstasy or the abyss.”
Hemphill Fine Arts
In 1965 a group of six artists – Thomas Downing, Howard Mehring, Paul Reed, Gene Davis, Kenneth Noland, and Morris Louis – showed work at the short-lived Washington Gallery of Modern Art. Their first group exhibition bore the title “The Washington Color Painters.” This posthumous exhibition by Downing, Mehring, and Reed reflects what the gallery describes as artists who “synthesized the powers of color, geometry and space to produce work that aligned with the radical ethos of the 1960s. Their wholly unique perspectives propel the spirit of the Color School forward; yet stand apart from their contemporaries.”
Thomas Downing (1928-85) was born in Virginia and came to Washington in 1953 and studied under Kenneth Noland at Catholic University. Howard Mehring (1931-78) was born in Washington and shared a studio with Paul Reed. Paul Reed (1919-2015) taught at the Corcoran College of Art and Design for nearly a decade. Work by these artists can be found in the collections of the National Gallery of Art, the Smithsonian Museum of American Art, and the Hirshhorn Museum and Sculpture Garden, among many others in the United States.
In her new series, “METALLICS: Paintings and Prints,” artist Mary D. Ott features metallic hues including copper, silver, and gold. She created the paintings using embroidery yarn dipped in acrylic paint to act as a fine brush; the prints are etchings, some of which include screen-printing techniques. Ott has been a member of Touchstone Gallery since 2001. A painter and printmaker, she has studied with Washington artist Anne Marchand and at the Corcoran College of Art+Design.
“Memoryscapes – Blurry Lines III” by Steve Alderton is the third and final in a series of increasingly abstracted landscape paintings by the artist. The geometric shapes, created by using sponge rollers and large brushes, hit against one another and often overlap, creating a blurred sense of nature. The artist has reduced the landscapes to an essence of shapes and colors.
Exhibitions on View