Thursday, July 28, 2011

Studio Gallery's Veronica Szalus brings trash to life

Anyone who passes by Studio Gallery will do a double-take as they realize that Veronica Szalus' work is not your everyday window piece. Aluminum is composed of over one hundred compressed soda cans. The installation is playfully alive due to Szalus' snake-like arrangement of the recycled materials. Cans are suspended from the ceiling, hanging in a vertical lines that wind down into colorful coils. This is not the first time Szalus has created art centered around a recycled object. A past installation utilized stacks of newspaper. Szalus notes in her artist statement: "Through a process of manipulating material that is fragile...I address continual shift of form." Through this exhibit, Szalus reminds viewers that no object remains the same--or should remain the same. Aluminum makes it clear that an object is often brought to "life" through an unexpected shift in form. Come First Friday, there is sure to be a crowd around this piece. Join us on August 5th and see if you can identify your favorite flavor of soda in Szalus' metallic sea of cans.

Intern Review by Mary Okoth
Photo by Asia Reynolds

Aluminum is part of this summer's UNSEEN: ALL MEMBERS SHOW. First Friday will take place on August 5th from 6-8pm. 2108 R Street NW.

Wednesday, July 20, 2011

FOUNDRY GALLERY: "Changes" - Ron Riley

OPENING RECEPTION: Friday, August 5, from 6 - 8pm
1314 18th Street, NW, Washington, DC 20036
Wednesday - Friday 1 - 7pm: Saturday & Sunday 12 - 6pm
EXHIBIT DATES: August 3 - August 28, 2011

In these recent paintings inspired by one of the natural beauties of our planet, clouds, and the vast variety of shapes and forms that they take on, Riley has used them to express his fascination with the constant changes that occur in our lives, some of which we can exert some degree of control over, while with others, such is not the case. Riley sees his paintings as something of metaphors to represent that we can be the sole arbiter of how a painting evolves and changes during the process of creating it, while at other times the painting seems to take on a life of its own and directs Riley’s hand towards its final outcome telling him when it is complete and no further work is necessary. One’s life is in many ways similar. Often we can make plans in terms of the direction we would like our lives to take, remembering always that life is in many ways all about change over which we can exercise some degree of control and at other times exert little or none at all. Accepting change is often not a simple task but it is something that at times we must simply accept.

Riley graduated from American University with a degree in fine arts and taught art in the Montgomery County Public School System in Maryland for many years while also pursuing his personal career as an artist. He is a member of the Foundry Gallery which is the oldest cooperative gallery in Washington, DC. He is also a member of Mid City Artists which consists primarily of artists who have studios located for the most part along the 14th Street corridor in Northwest, Washington, DC. Riley’s work is displayed in private homes in the U.S. and Europe.

Riley’s new show of recent works, “Changes”, will be on view at the innovative Foundry Gallery in Washington, DC from August 3 through August 28, 2011. Foundry Gallery is located at 1314 18th Street, NW and is open Wednesday through Friday, 1 – 7pm, and Saturday and Sunday, 12 – 6pm. The opening reception is Friday, August 5th from 6 to 8pm. Additional works by Riley can be viewed on his website .

Saturday, July 16, 2011

Micheline Klagsbrun's "Blue Morpho Nymph"

With cool blue skin against a bed of decorative organic shapes, the Morpho Nymph turns away from her viewers in a distant dreamlike manner. Although her position is opposite viewers, one can be pulled into her world like a curios child. Intricate details grace every inch of the canvas as the eye travels from the rounded, prominent hips of the figure to the butterfly-like patterns woven throughout brown and tan hues that surround her. There is a inhuman relevance to this piece, the figure takes on an avatar incarnation with beautiful grace. The use of electric blue paint to model the figure renders a living glow, which breathes life into the canvas' surface. White paint layered on on shades of blue highlight the figures skin, as if under a radiating, glowing light. The Blue Morpho Nymph is nestled in a bed of overlapping shapes moving inward and out, creating gentle movement as they give in to the weight of her mass. The composition of this piece also gives a unique repetition of shapes which compliment one another. With the lines that create the curves defining the figures leg and then continue onto the background, a sense of unison is clear. One can feel the inviting essence permeating from Klagsbrun's work immediately upon first glance.

The Blue Morpho Nymph is a sight to behold, graceful and delicate even down to the smallest detail, and worthy of nobility.

Tiffany Green- Marymount University

Wednesday, July 13, 2011

UNSEEN: All Member Show

Exhibitions: July 20-August 13

Curated by member and artist of Studio Gallery, Iwan Bagus, the UNSEEN: All Member Show is inspired by the CMYK printing color model of cyan, magenta, yellow, and black, where artists are either creating completely new works of art or are pulling from their own personal collections works that have never been publicly exhibited or seen. Artists are being challenged to think outside of the box, giving them an opportunity to showcase styles that are not their typical or traditional way of undertaking their previous works. As the gallery's last extensive three floor exhibit, members and associate members will be represented in works ranging from painting and photography to sculpture and installation.

First Friday will be on Friday, August 5 from 6 to 8 pm.
(As part of the Dupont Circle Galleries openings)

Studio Gallery
2108 R Street N.W.
Washington, DC 20008


A Brief History:

Studio Gallery was founded by two young artists, Jennie Lea Knight and Nancy Lloyd after graduating from school and hoping to find a place in the district where they would be able to exhibit their work publicly. However, with the gallery initially run solely by Knight and Lloyd, they began to have financial difficulties and initiated discussions for the possibility of changing the gallery into an artists’ cooperative. Thus, in 1964, Studio Gallery was born.

Studio Gallery’s success can be attributed to its pure simplicity of function. As a non-profit space, all of the gallery’s finances are covered by membership dues, and without dependence on sales, the gallery’s existence remains steady leaving members free to create and experiment according to their own personal artistic vision. The gallery is member managed, member owned, and member maintained with a unique membership criterion decided by a majority board vote.

The gallery has maintained a policy of turning over the gallery space to guest artists several times a year in order to encourage emerging and alternative work and maintain active community involvement. It continues today with First Friday receptions every month that are free and open to anyone who is interested. Guest shows have ranged to include “Studio 155: Songs of the Earth”, created by a group of botanic artists, “The Best Artomatic”, “Mid-City Artists at Studio Gallery,” “Tom Dryman Selects, Only What You Can Carry with You,” “Carte Blanche: The Interns of Studio Gallery Curate,” and “The Magic of the Melting Pot: Immigration in America.”

Since Studio Gallery’s first space in Alexandria, VA, the gallery has moved to numerous locations across the DMV area until it finally moved to its current R Street location in Dupont Circle. In 2014, Studio Gallery will be proud to celebrate its 50th anniversary as an artist-run organization.

Saturday, July 9, 2011

Trix Kuijper's "Power Struggle"

"Power Struggle" is a haunting, beautiful piece whose subject matter is not only engaging, but truly unique. At first glance the three dimensional female figures pop off of the canvas in a curious way. With linked hands and wrists together, the two figures become a one with only the horizon on the background canvas to indicate their positions, and separation. The top figure breaks the canvas edge in an an immortal way. Her position is a still image of a seemingly desperate attempt climb over and out of the piece, to connect with the figure opposite her. Deep rich hues in blues, greens and purples cast a morbid essence as the bottom figures body appears sunken in a vortex of darkness. The canvas is played up with media, giving the surface texture and a gloomy liveliness. The hair on the figures head are painted in a bright red, almost bloody pigment, a compliment to the essence of the "struggle" in this piece.

Still, the mystery of "Power Struggle" leaves one conclude his own context and meaning. Could this be a fight for status? Or a an attempt to save one's life? A successful artwork that opens for possibilities beyond a literal sense. And that is exactly what Trix Kuijper's "Power Struggle" has given us. This work and others by Kuijper are on view now at Studio Gallery DC. Come visit our gallery and find out for yourself.

Tiffany Green
Marymount University

Thursday, July 7, 2011

Studio Gallery Intern Review


A spirited ballerina leaps and twirls around the other female sculptures in the Studio Gallery's bottom floor on this hot summer day. However, this dancer is quite different from the other girls who have been sculpted to perfection from terra cotta with bronze patine materials. The ballerina has broad shoulders, strong arms, fit legs, and a white tutu that billows out around her. The other sculptures from Trish Palasik's collection watch in admiration as the ballerina spins and pliés with ease. She is gentle and poised as she bends and curves. The ballerina is in mid-Grand Jeté when she leans back, squares her shoulders, and closes her eyes as she feels the effects of movement and confidence rush through her. She remembers that the meaning of dancing is to enjoy oneself while putting on a good show. This ballerina's goal is to represent that anyone can be a ballerina. One doesn't have to be thin, beautiful and own a tutu to perform beautiful recitals and entertain a crowd. All that one needs is to have discipline, grace, and strength to pursue the art of dancing.

The ballerina raises her hands and poses as she completes her grand finale.

Sarah Botzer
Pratt Institute 2015