Len studied printmaking in Japan, the place a course of referred to as suminagashi includes marbling paper with ink floating in water. The artist did his model of suminagashi with partly handled wastewater, his arms and arms protected lengthy gloves. He puckishly credit the outcomes as made “in collaboration with the residents of Alexandria, Va.”
The water itself, pungent with “FOG” (fat, oils, grease) and “chocolate milk” (principally biosolids), is proven in close-up in a collection of images. Len additionally documented the Potomac River, which he explored kayak, and the remedy plant and sewer system. The photographs depict nature, principally within the type of aquatic birds, accommodating itself to AlexRenew’s water-treatment lagoons and the outfall pipes the place effluent can enter the river.
The photographs complement a cupboard stuffed with stuff discovered within the river or alongside its banks. Amongst them are a ball, a toddler’s Spider-Man shoe and slabs of Styrofoam so weathered they give the impression of being as in the event that they have been excavated at Pompeii. One such stray object, a internet, is the topic of the biggest piece, a seven-foot-high cyanotype. Gomitaku writ giant, the print towers over the present to exemplify trash that’s usually a lot smaller and even, within the case of microplastics, unseeable with the bare eye.
Len cites the activism of D.C.’s 1990s punk scene as a vital affect, and “Renewal” is partly a political assertion. However a number of the prints, whether or not black-and-white or lustrously blue, are pretty. In one other context, they’d sing the fantastic thing about our world slightly than warn of its desecration.
sTo Len: Renewal Via Dec. 27 at Studio 13, Torpedo Manufacturing facility, 105 N. Union St., Alexandria.
Brown & Hazard
Derived from nature but undirtied ecological corruption, Scott Hazard’s and Gabe Brown’s artworks may be seen as abstracted miniature gardens. Hazard’s sculptures are grottoes of torn paper, printed sparely with textual content and boxed in blond wooden. Brown’s delicate drawing-paintings array kinds which might be recognizably, if not actually, natural. The artists’ works harmonize in Adah Rose Gallery’s “The Track of Earth Has Many Completely different Chords,” which is effectively served the venue’s new, bigger area in the identical constructing that has lengthy housed it.
A panorama architect in addition to an artist, Hazard hand-stamps phrases and phrases on creamy paper that’s maneuvered into craggy landscapes. A bouncy string of phrases hints at a stream or a horizon line within the practically flat “Tread/Thread”; the two-foot-deep “Subject” nestles a number of mountain ranges inside wood slats. The phrase “backyard” initially referred to “a way of enclosure,” explains the North Carolinian’s assertion. His paper vistas are as minimal and orderly as a Zen temple’s rock backyard, but — like such temple options — evoke a world that’s prodigious and unruly.
Structure of a kind can be at play in Brown’s intricate photos, however the grasp designer appears to be nature itself. The Upstate New Yorker’s outstanding motifs embrace crystal-like patterns and sprays of rounded, tapered shapes that resemble each leaves and water drops. The palette emphasizes inexperienced and blue, and the surfaces are layered and scraped to recommend continuous flux. But brighter colours and purely geometric kinds additionally seem, contrasting the earthly parts. Her aim is to convey “my very own surprise on the monumental complexity of the world,” Brown writes, and she or he does so gently and subtly.
Gabe Brown and Scott Hazard: The Track of Earth Has Many Completely different Chords Via Dec. 31 at Adah Rose Gallery, 3766 Howard Ave., Kensington. Appointments recommended.
In a few of “The Tempest’s” best-known traces, a “sea change” means an underwater transformation “into one thing wealthy and unusual.” The phrase will get a much less rapturous studying in “Sea Change,” a 21-artist present on the Washington Printmakers Gallery that focuses largely, if not solely, on local weather change.
One of many highlights is a Ron Meick lithograph that addresses 2020’s avenue protests overlaying tough patterns and freehand scrawls on the tidy grid of a century-old Chicago map. But a lot of the present’s bulletins are climate-related, whether or not as direct as Karen Goldman’s picture of hippos in search of refuge in a near-dry water gap or as philosophical as Amy Guadagnoli’s “Ship of Theseus,” which turns an historic puzzle right into a metaphor for a battered and crudely patched planet.
Though titled “Paradise in Peril,” Nina Muys’s triptych of a blue heron amid flowers provides a extra tranquil imaginative and prescient. So do Jenny Freestone’s elegant depictions of aquatic creatures, through which the life cycle of eggs, bugs and amphibians is revealed as one thing wealthy and unusual.
The images in Cristy West’s Foundry Gallery present are on canvas or paper, however the mottled off-white surfaces recommend stone and concrete. The vernacular West calls “The Language of Marks” attracts from cave work in addition to hieroglyphics and Asian calligraphy, employed for gesture slightly than that means. Typically, the D.C. artist achieves the mineral-like impact with paint combined with wax so as to add bulk and texture. However the hushed “Canyon Spirits” incorporates precise sand from an space the place, for added resonance, Georgia O’Keeffe used to arrange her easel.
The present features a set of small collages and one other collection, executed with oil stick, that layer brighter colours on slate-toned fields. There are additionally two putting work through which fluid swirls are set off black backgrounds that shine like burnished onyx. These are nearer in spirit and energy to the biggest work, which the artist’s statements likens to runes and petroglyphs. Whereas “mark-making” is a buzz phrase in up to date artwork, West pursues her scratches and scribbles right into a mythic previous.
Cristy West: The Language of Marks Via Dec. 27 at Foundry Gallery, 2118 Eighth St. NW.