Studio Gallery Intern Review

The painting “Midnight In Argentina” by Andrew Acquadro presents the beautiful landscapes of Argentina. The vivid reds, blues, and black colors merge with jagged lines, creating an eerie and dark feel to the work. The black in the background may represent a mountain silhouette that contrast against a bright red sky, and the the bright values of blue boldly represent a waterfall that spills off of the canvas. The values of red surrounding the waterfall can be interpreted as a closer view of the mountains. This piece has an interesting way of capturing one of the most striking landscape scenes in our world. Acquadro's brush stroke techniques can be clearly scene and make the piece more dramatic. This piece will surely make you want to go visit the remote lands of Argentina.

Asia Reynolds
Montgomery Blair High School
2011

Studio Gallery Intern Review

Yvette Kraft's acrylic piece “Miss Parko Enjoys the View” is upbeat and whimsical. The art has a serendipitous feel to it. Kraft's use of primary colors indicate a youthful and mellow essence. Her application of simple lines create an extraordinary amount of detail. It's apparent to see that Kraft carefully thought out her spacial and rhythmic techniques. The colors become alive and leap off the canvas. The acrylic piece is lovely and displays a childlike passion. Your eye will immediately go to 'Miss Parko.' Her expression seems pleased and carefree as she 'enjoys the view'. This childlike painting will effortlessly brighten your day.

Sarah Botzer
Montgomery Blair High School
2011

February Closing Reception

The Studio Gallery 2108 R Street NW Dupont Circle 202.232.8734 www.studiogallerydc.com Gallery Hours ; Wed-Thurs 1-7, Fri 1-8, Sat 1-6 and Sundays by appointment.

Come to our Closing Reception, Saturday February 26th, 3-5 PM.

Solo Show: Steve Fleming. In his first solo show at Studio Gallery, master watercolorist and painter Steve Fleming exhibits a new body of work based on recent travels and landscapes. There is a sense of sculpture, of space and of structure in these rich works that use the medium in ways that evoke the colors of the southwest, the imagined landscapes of primordial earth and the Kalahari Desert. Duo Show: Trix Kuijper and Elena Stamberg. Ms Kuijper continues her fascination with the Surrealist world and in her newest group of paintings, uses the three dimensionality of the canvas to explore the duality of the natural world - its fragility and vulnerability contrasted with its power and occasionally its savagery. Ms Stamberg, a multi-media artist, creates beautiful textile surfaces in small stitched paintings. Each work evokes a landscape or a minimalist abstract piece in a soft and peaceful palette.

Foundry Gallery: Touch Points

Katherine Blakeslee’s watercolors evoke touch points from nature and places called home.  This show’s works reflect images from across the world.  Common elements shared by all -- air, water, earth and fire -- are brought together in different combinations, reflecting diversity, yet familiarity, places at which to pause and see and feel.  The evanescence of weather reflects the changing nature of life, while homes and enduring views root and connect generations.  Blakeslee hopes to evoke feeling and thought about the linkages between the small daily worlds we inhabit and the large planet we share.

 Fascinated by connections between peoples and elements, including the magic line that both divides and unites the sky, water and earth, the artist sees divisions, not only as lines, but also as links.   From the northern skies to the Vietnamese watersand the houses of Morocco, the color blue appears in most of her paintings.


Date of Exhibit: March 2 through March 27, 2011

Gallery Hours: Wednesday - Friday: 1pm –7pm; Saturday - Sunday: 12 noon to 6pm

Opening Reception: Friday, March 4, 2011, 6:00 – 8:00 pm

1214 18rh St NW

http://www.foundrygallery.org/index.htm

Studio Gallery Intern Review

Steve Fleming's watercolor painting “The Push” suggests a memory of a winter afternoon. The dark colors resemble thick trees and the light blues and off-whites hint of an overcast sky. The splattered shadowy colors add a fun tone to the painting. The viewer feels as if they are looking up at a beautiful frosty forest. “The Push” is an excellent combination of an airy and eerie feel. Fleming creates a perfect remembrance of a mysterious winter setting.

Sarah Botzer
Montgomery Blair High School
2011

Intern Review

Katya Kronick's acrylic on canvas “Moment G”, amazingly captures the art of using texture. The piece is incredibly busy so your eyes travel around the work at one time, and the bright colors create a refreshing reaction. It resembles action painting because of the random paint blotches and paint trails which creates an excited feel. Your first thought when you first see the painting is “I want to go up and touch it”. Feeling all of the bumps and curves send curious thoughts throughout your mind. Katya has a brilliant way of expressing texture.

Asia Reynolds
Montgomery Blair High School
2011

Four Artists at Gallery A

This month at Gallery A, the focus is not on one, but on four artists. With a wide array of styles

ranging from abstract to near surreal, the show promises to deliver.

Rosana Azar's surreal works have an eco-conscious undertone, utilizing themes and organic shapes such as eggs and blooming flowers.

Her geometric shapes flow into one another, creating a harmony that is natural and fluid. Her color palette is usually warm-- red, orange, and yellow dominate most of her canvases. On display are works both large and small, as well as a diptych piece.

Alex Lord, in an original way utilizes an intricate process which ends with several layers of car paint in order to give his works an edgy and contemporary iridescence. He uses models for his intricate casts in a process of giving finished shape to his plexiglass medium. His works predictably are most appreciated in Northern Italy and New Orleans Latin Quarter. His works made a splash in bureaucratic stiff Washington. Don't miss the show!

Artist Marian Bingham (Bing), brings the complex theme of the horse into her art work. You will find that line plays a large role in her pieces, though not always straight they add dynamism, depth, and perspective to her galloping subjects.

Judith Judy's room at Gallery A displays delicate, nostalgic abstract landscapes. Delicate oils on board, nostalgic of nineteenth century American landscape. The viewer is mesmerized and compelled to stand still as he's captivated by the depth of Judy's images. Her landscapes have retained their signature mystical quality. However, she is utilizing some new mediums, such as gesso board. The gauziness of her images strips them of specificity, and perhaps you will find that when you look at them, you are viewing a landscape that is familiar; exercising your memory and imagination at the same time. Judith Judy's solo show with astounding new work will be presented in April.

We invite you to come view the work of these four Gallery A artists, on display now until the beginning of March!

-Balkis Awan

Gallery A

2106 R Street, NW

(202) 667-2599

Intern Review

The beautifully strange mixed media piece, “The Bride” by Trix Kuijper is an interesting perspective of a bride-to-be’s image. The woman mannequin has no arms, legs, or head; only an eerie, off-white, ripped up wedding gown. On the neck sits an intricate flower with a single, menacing eye in the center. The background consists of a ramp, or aisle leading into the clouds of a teal and yellow sky. The piece is definitely a different take of a bride’s perception of getting married. It’s creepy essence and humorous idea will certainly stop you in your tracks.

Sarah Botzer
Montgomery Blair High School
2011

Intern Review

Elena Stamberg’s thread drawing on organza, “Atmospheric” beautifully captures the soft, calmness of a beach scene. The transparent, white cloth gives the piece a soft, airy feel that calms the mind. The dotted blue squares represent the bright blue sky above the horizon while the green lines beneath them show the motion of the waves. As you look at this piece, your eyes slowly follow the path of the green thread. At the bottom, gold thread is woven in a close wavy pattern to represent the sand. Because this piece is so calming, it is easy to imagine it in your bedroom for when you need to escape to a tranquil place. It takes no time at all to become lost in the beautiful scene.

Asia Reynolds
Montgomery Blair High School
2011

Interview with Artist Elena Stamberg

Fellow Studio Gallery member Elena Stamberg has a two-person show up soon with Trix Kuijper. The exhibit runs February 2 - 26, 2011 with a First Friday Reception (as part of the Dupont Circle Galleries openings) on 2/4 from 6 - 8 pm and another reception, Saturday 2/5, 3 - 5 pm.

Q. What's the one thing you'd like people who aren't familiar with you/your work to know about you?
A: My heart is with needle, thread and cloth. That's a fact that I should probably whisper very softly. But then, what is canvas, but cloth with a treated surface? So all painters use cloth in their work. The needle is my brush.

Q: What's your favorite piece from the show and why?
A: The pieces done on organza are my favorites. They attempt to capture the atmospheric feeling of being by the surrounding and soothing ocean.

Q: Do you work intuitively, with a hardcore plan, or somewhere in between?
A: I work intuitively in the moment having no preconceived notions as to the outcome. Sometimes the muse dances on my head and sometimes she doesn't. Then I wait.

Q: Who is your biggest influence and why?
A: I'm not really influenced by anyone. I observe, absorb and just am.

Q: For this show, did you do anything differently... new techniques, subject matter, palette, etc.?
A: The different part is that I'm showing work drawn with needle on cloth, rather than brush on paper or canvas.

Q: Where do you see the DC art scene in five years? In ten?
A: I haven't a clue. Who can predict the future, or even tomorrow?

Q: What do you feel is the best thing about being an artist in the DC area?
A: Studio Gallery. It's a wonderful space with a sculpture garden, high ceilings, we have a dynamic director, and the artists are supportive.

Q: A lot of artists have that one piece in their studio that they would never ever sell. Tell us about yours.
A: Some of my pieces have family members included and involve lots of detailed work which takes many months to complete. Those I would never sell because they are too personal.

Thanks, Elena, and best of luck with your show!

Ties and Tales Friday

On our door you will find a bevy of unique ties. We ask that you take one* and write an anonymous wish, "what are you going to do with it?", or story. Here are a few examples of the words and anecdotes that people have shared with our gallery:

The following submission was one with what appeared to be many authors...

1. "We are all one human family"

2. "I will use my tie for..."

3. "She lay on the bed confronting the wall space with empty eyes...

the man she knew she loved she kept in a quiet box had given to her the freedom of knowing and understanding of wanting

and he spoke with words that echoed with gravel with pavement with goodbye

That she loved him last spoke highly of him

And she knew as he did she was no angel

but she could make a good sandwich

oh yeah. and we'll probably use the tie for bow chick a bow bow b/c he's more of a blue collar guy."


The next two were by different authors:

"I took a tie to give to my husband because he is
kind
Generous
Funny
Fair
Talented
and because he loves me"

"I wish for every man and woman... (Stefanie) to color outside the lines!"

Feeling even more generous? We accept tie donations.
We want to keep this going so, if you like what you read, log off you PC, and come share it!

Sincerely,

Studio Gallery

*due to the fact that our tie numbers have been dwindling we have changed the rules recently and ask that you write your wish etc... on the tie and leave it.
Thank You again for your participation!

Steve Fleming Interview

Fellow Studio Gallery member Steve Fleming has a solo show from February 2nd to the 26th with a First Friday Reception (as part of the Dupont Circle Galleries openings) on 2/4 from 6 - 8 pm and another reception, Saturday 2/5, 3 - 5 pm.



Q: What's your favorite piece from the show and why?

A: I really like the earliest Kalahari painting, especially Kalahari 1 (above). It represents the freshest and most sensitive handling of my impression of the desert floor as seen from a small aircraft. The colors have a nice wide range considering I am painting a dry very desolate place. I really like the scratch work indicating the eons old paths that the animals use to cross the desert in search of food and water and the patches of white paint that are pulled over top of the foundation colors giving the impression of sand forming pockets and ridges on the earth's surface. I like all the later pieces; they became much more involved in terms of color, texture and the feeling of movement but the simplicity of the early work still says the most to me.


Q: Do you paint intuitively, with a hardcore plan, or somewhere in between?

A: When painting acrylics I really do start with a plan and just put paint on paper and canvas and then I let the painting push me to new conclusions and destinations. This approach is very different for me because in my impressionistic watercolor landscapes I use a design pattern which is very specific in terms of the relationship of lights and darks and the location of focal centers of interest. I paint very fluidly and spontaneously but I have a definite plan. By contrast, when I paint acrylics I have a general theme or motif I want to try but I just let the medium and canvas drive me in new directions. I think this works with acrylics because they are great for changing the surface and restating dull and unsuccessful areas in the painting. I can really keep adding and trying one more thing and not stop until the painting feels complete. Many times the painting has a totally different look when finished than I anticipated when starting.

One thing that does define my works is my tendency to paint in a series of work following a theme or concept and then exhausting all of its possibilities. The two major themes of this show are the desert impressions in which I have tried to produce work that evokes the color, texture and character of the Botswana desert. I have flown over it many times and am always stunned by the dry, ancient grays and the spotty areas of life supporting water and vegetation. It has the look of an ancient face gritty, lined and expressive I tried to portray this in my show. The second theme is called "Layers" which came about with juxtaposition of zen circles on top of color fields and forms. I have tried to establish the feeling of looking into the picture plane through layers of symbols finding the distance and subject of the painting deep in the canvas.


Q: For this show, did you do anything differently... new techniques, subject matter, palette, etc.?

A: Actually, since this is the first time I have ever shown my acrylics, everything is new for me and the viewer. I have been a painter of transparent watercolors for 40 years and have just recently made the move to acrylics. I made this move because I wanted to work on a bigger scale and I wanted to get more surface textures without the tricks associated with the transparent watercolors. Most of the paintings were done using a palette knife and for me this is really different because I am pretty much noted for being a really expressive brush painter in watercolor. The journey to paint this show has really taken me to and through some rough yet exciting patches. For the longest time I would mention that I felt my relationship with acrylics was like a marriage that was on the rocks and in serious couples counseling.


Q: A lot of artists have that one piece in their studio that they would never sell. Do you?

A: Funny but I really have no painting that fits that description. Once I am done with a painting I am on to the next one. My favorite is always the one I haven't painted yet. My goal is to sell everything I paint and have the painting make the owners happy for the rest of their lives. I lose interest in a painting pretty soon after its completion and if I am left with it for too long I will begin to tear it apart intellectually and seriously consider painting over top of it. I look at each painting to be a process of creativity and immediate artistic energy, but once I feel it is finished I move all of my passion to the next piece. I belief that when an artist is too involved with past work then the future work will suffer. We must always be looking towards our next painting not the last one. Artistic growth comes from trying new things and pushing out beyond our comfort boundaries.