Where to see art gallery shows in the Washington region


Character-themed artworks exhibited in community galleries in latest decades have often depicted the world beneath siege — exploited, overheated and just plain trashed. Nonetheless some artists still have an eye for unabused natural attractiveness, whether seen sweepingly or in close-up. Loriann Signori’s “The Poetry of Place” capabilities misty landscapes that gleam with celestial light Patricia Williams’s “Some Views About Trees” stylizes trunks, branches and leaves and “The Botanical Gourmet” focuses tightly and exactly on a couple of, or fewer, edible plants.

Signori’s oil paintings and pastel drawings are on a regular basis exhibited in the vicinity of her suburban Maryland residence, but her Gallery B show spotlights distinct concerns and methods. Compositionally, the most placing of these photos are severed by bodies of water, these kinds of as the channel that cuts by means of the gold-tinted expanse of “Talking With Silence.” Daylight plays on these breaches of fields and forests, so the stream that bisects “The Night Is a Slice of Heaven” seems to be like a gash of liquid gold.

Some of the paintings and pastels are thickly textured, though by distinct implies. The moon hangs low in the purple sky of “Flickering Margin of Horizon,” whose painterly gestures are deepened by the conspicuous weave of Irish linen. Marble dust mixed into gesso gives a weathered search to this kind of pastels as “Flamenco Dancer,” which portrays a single pink flower. The matter is very simple, but its impressionistic qualifications is as sophisticated and luminous as a person of Signori’s epic vistas.

The dominant coloration of Williams’s tree-oriented display, at Touchstone Gallery, is not environmentally friendly but a delicate, lush blue. This frames the silhouetted branches and other facts in a lot of of the rural Virginia artist’s photos, most of which are watercolors painted on clayboard and sealed with varnish. The arboreal forms are usually lighter than their sky-like backdrops, but loosely patterned with spots and traces in bold green, orange and pink. The partly abstracted scenes at times harbor animals, like a robin who’s the brightest matter in Williams’s woods.

Almost everything is organic, nonetheless in some cases subjected to hard-edge geometry. A number of compositions are divided throughout multiple squares organized in restricted, standard grids. This strategy could simulate the watch from windows, or just manifest the artist’s energy to manage what she sees. Williams pairs each individual picture with a quotation about trees, derived from quite a few sources, but the show’s eyesight is all her own.

The contributors to “The Botanical Connoisseur,” the Athenaeum’s showcase for customers of the Botanical Arts Culture of the Nationwide Money Region, depict their subjects with precise, painstaking realism. That does not imply that these photographs of flora, rendered with watercolor, colored pencil or each, deficiency dynamism or playfulness. Anne Clippinger’s “Garlic Scapes” are gnarled to lively influence, Pamela Mason’s “Beach Rose Hips” pops substantially from black paper and Joan Map Ducore’s “Balanced Diet” stacks a variety of vegetables in a teetering pile.

Though Ducore’s image and Mary Elcano’s “Waldorf Salad” cluster fruits, nuts and veggies that may possibly be consumed together, other contributors come across pictorial distinction in botany’s pure states. Elena Maza-Borland highlights the tough-veined rind of a heirloom variety of French pumpkin, and C.B. Exley juxtaposes the delicate colour gradations of two dangling persimmons, their skins dappled with light and their leaves eco-friendly but brown-edged. Both equally ripeness and decay produce profound hues.

Loriann Signori: The Poetry of Area By Jan. 15 at Gallery B, 7700 Wisconsin Ave., #E, Bethesda.

Patricia Williams: Some Ideas About Trees Via Jan. 8 at Touchstone Gallery, 901 New York Ave. NW.

The Botanical Gourmet Through Jan. 8 at the Athenaeum, 201 Prince St., Alexandria.

“Promession,” the title of Benjamin Bertocci’s Von Ammon Co. show, refers to a theoretical approach of disintegrating cadavers by freeze-drying. All the paintings are named “Promession” as well as one particular or extra Roman numerals, but only a number of appear to depict human bodies, no matter whether decayed or just distorted. What hyperlinks the photographs is not matter make any difference but strategy.

The New York artist usually paints on what he calls “plastic entombed canvas,” and fragments the subject make any difference into chunky, computer system-design and style pixels. The effect is to deform the picture, whilst some of the less complicated types — such as, of course, a cranium — can be effortlessly discerned when considered from a length. Less decipherable are a pastel-toned Julie Andrews and a take on Jan Brueghel the Elder’s “The Temptation of St. Anthony” that’s even darker than the unique.

One particular of the painter’s worries is technological innovation, and the single photo that’s partly collaged contains damaged bits of circuit boards. But most likely Bertocci sees digital illustration as just a implies of fracturing and diminishing. The artist pursues a procedure that, like promession, minimizes complex beings to the easiest of bits.

Benjamin Bertocci: Promession As a result of Jan. 8 at Von Ammon Co., 3330 Cady’s Alley NW.

Some of the paintings in Liz Tran’s present-day exhibition are reprised from a mid-2021 1, but they have a new venue and a new centerpiece. Whilst both shows were being structured by Morton Wonderful Artwork, “Matriarchs and Daughters Aspiration Oceans of Braille” is mounted at Homme, where by the summary shots flank a 16-foot-prolonged vertical banner that drapes down a wall and swimming pools on the ground. Built in collaboration with Tran’s mother, and incorporating component of a grandmother’s tablecloth, the piece encouraged the show’s title, which refers to intergenerational connections and the tactile mother nature of fabric function.

Of the other parts, only three are circular in format, but all function copious spheres, details and rounded blotches. Tran applies warm-coloured forms in many media, typically densely overlapped on product-hued backdrops. Drips are indulged, or even encouraged, and rings of painted dots frequently trace the circumferences of larger sized orbs.

When the Seattle artist’s colour schemes have a floral high-quality, the abundance of twinkling marks implies star maps. That affinity is acknowledged by the title of one particular series excerpted right here, “Cosmic Circle,” but the original inspiration for Tran’s compositional manner is essentially the Rorschach inkblot. The huge, profuse expanses in these paintings represent the psychological as considerably as the interstellar.

Liz Tran: Matriarchs and Daughters Desire Oceans of Braille As a result of Jan. 6 at Morton Great Artwork at Homme, 2000 L St. NW. Open by appointment.