Where to see art gallery shows in the Washington region

This is exemplified by John Ruppert’s two-part sculptures, which at first seem to be teams of stones, however in truth pair a chunk of rock with a chunk of solid metallic that mimics the tough contours of its counterpart. Ruppert’s somber duets recommend that discovering and creating are twinned processes.

The smallest establishment whose college is featured is the Washington Glass School, represented by principals Tim Tate and Erwin Timmers. Timmers’ contributions embrace three fingers, elegantly solid in glass, rising from rectangular panes. One of the Tate’s items spoofs high-tech and vintage by putting a blue-tinted video of a blinking eye inside an ornate white glass body.

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Also combining conventional craftsmanship with modern expertise, Robert Devers’ stoneware is pierced with stylized flames via which pink gentle emerges from inside LEDs. This evocation of fireside is a heat distinction to Patrick Craig’s forest portray of intertwined columns of what seems to be blue water and birch bark.

Both Kate Fitzpatrick and Reni Gower executed giant sample items that, intriguingly, depart traces on the ground. Fitzpatrick’s huge black-and-white portray seems carved and hangs above a line of grey mud. Gower’s giant ornamental design is manufactured from carved white paper; her again is painted pink and inexperienced, shades that replicate on the wall. The cutout echoes a associated however not an identical sample on the ground, drawn in white sand like a Tibetan Buddhist mandala.

The contributor who has traveled the furthest from the studio is Peter Winant, who is understood for his geographical tasks. The artist returned water from the Hudson River to its supply in western Massachusetts, an enterprise documented in pictures and video. But this eco-ritual additionally consists of clay fashions of animals and fish, rendered as fastidiously as something in this meticulous show.

Continuity: Artists Teach Artists Until November 10 McLean Project for the Arts1234 Ingleside Ave., McLean.

Pyramid Atlantic’s gallery is upscale, however its present show has a subdued ambiance. Altered Environments spotlights April Flanders, an artist from North Carolina who deftly captures as a lot as she prints, attracts and paints. The present’s centerpiece is “Filter,” manufactured from about 2,000 small monotypes minimize into dozens of shapes; they enter 9 undulating colleges throughout two white partitions. The huge but delicate piece, a model of which was displayed at the American University Museum in 2019, symbolically depicts invasive mussel species in delicate shades of blue and inexperienced.

Other mixtures mix monotypes and display screen prints, whose curved shapes and vivid colours evoke underwater life with out truly representing it. Flanders simulates depth by superimposing one-dimensional circles, ovals and tentacles—some in waterless pink—or by developing 3D half-worlds of painted, laser-cut paper layered inside glass-topped containers. Flanders sees with alarm what is occurring to the lakes and seas, however she will’t resist making it visually interesting.

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While the most important gallery shows solely Flanders’ art, the adjoining hallway holds works on paper by 24 different American and Canadian artists depicting invasive species. Among the highlights are Marty Ittner’s cyanotype of a blue catfish the wrong way up on a nautical chart; Julie Wolfe’s jellyfish trio, printed in contrasting aqua and magenta; and Eveline Kolijn’s etching and linocut of a number of lionfish in a sea that seems to stream from a single stream of water. All three are close-ups that convey a way of bigger forces in quickly altering oceans.

Changed Environments Until November 13 Atlantic Pyramid Art Center4318 Gallatin St., Hyattsville.

Light is the central topic of Bill Hill’s “Modes,” however the summary painter identifies many different precedents for his Gallery 2112 present. While the affect of such Washington colorists as Sam Gilliam and Leon Berkowitz is to be anticipated, Hill’s assertion additionally appreciates the music of composers John Cage and Giacinto Scelsi and James Joyce’s Finnegans Wake. Perhaps the cyclical construction of that novel formed the native artist’s method to laying out transferring, swirling, nearly fluid shades that typically seem to be splashed onto the canvas, or to comprise ghostly gestures beneath the floor.

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Hill notes that his work, made with water-based oil pigments and principally in shades of blue, orange and pink, start with glimpses of his yard. However, their intimations of the panorama are strategies at finest. Some embrace what could be seen as horizon strains, and a few are areas of washed-out shade that recommend sky or water. But all the pictures are sq., which makes their edges really feel arbitrary, not integral. Hill’s compositions appear much less like particular person scenes than fragments of scenes that go on and on, maybe endlessly, past their frames.

Bill Hill: Modes Until November 19 Gallery 21122112 R St. NW.

Joan Mayfield and Ruth Trevarrow describe timber as individuals have gone with them. The two native artists paired in the Athenaeum’s “Wood” take their cues from logs and melted boards, distilling their topics into snaking black strains or rooted fragments.

Among the inspirations for Trevarrow’s giant black-and-white prints is an elm that stood close to DC’s Martin Luther King Jr. Memorial. The artist’s “MLK Elm1” is an correct depiction of the define of the trunk, executed in a thick black line and stuffed with tons of of simulated concentric tree rings. Such footage are memorials to organisms passed by, however their advanced types are alive with risk.

Mayfield’s discovered wooden collages are comprised of supplies which have been melted down even farther from their pure origins. However, the struck, partially painted slates are sometimes organized in ways in which evoke their former existence as a part of a residing organism. One piece options twisted blonde wooden pillars reaching up to a blue backdrop that evokes the sky. Mayfield does not simply reuse wooden; she, at the very least symbolically, replants it.

Joan Mayfield and Ruth Trevarrow: Woodcuts Until November 13 Athenaeum201 Prince St., Alexandria.