Art association

The Washington Art Association opens a new exhibition on October 15

WASHINGTON—The Washington Arts Association will present an exhibition featuring four artists whose work is connected by their in-depth explorations of specific materials. The show opens Saturday with a reception from 4-6 p.m.; the public is welcome.

The artists participating in this exhibition are Constance Kilgore, David Licata, Carolyn Millstein and Ann Mallor.

From the gallery: As a young artist living in England, Kilgore was deeply inspired by this terrain and the mystery of what lay below. Earthworks, standing stones, glyphs and their forgotten meanings just below the surface eventually evolved into a dynamic dance with the sky above. Kilgore’s sky paintings evoke a deeply felt physical and emotional response by both artist and viewer. Artists pour and push diluted acrylic paint into raw wet linen creating images of atmospheric skies, the technique of wet in wet surfaces mimics atmospheric conditions, the interplay of reflective light and puffy clouds. This exhibition combines Kilgore’s more representative landscape paintings with his dreamy abstractions using a cold wax medium. Painting with a wax medium gives the paint lush body and the ability to create layers of surface texture and rich color. For the artist, the physicality of the medium brings her back to an early fascination with topography, archeology and the fragile durability of long-buried objects created by forgotten civilizations.

Licata chooses glass for its inherent beauty and the endless variety of colors and textures it can create with this medium. With gas torches and a well-honed arsenal of traditional and innovative techniques, Licata scratches, twists, mixes and shapes rods of glass into fluid compositions. A lifelong student of glassmaking, the artist became a technical expert; he often uses Venetian stripes, twists or fusions to achieve the desired effects in the coloring and surface texture of the glass. He could also use a variety of traditional chainmail “stitches” in the construction of his work. The process takes a lot of time and work and becomes a meditation for Licata. The artist compares the making of the glass ties and their bonding to each other like a flame knit: “It’s very complex and repetitive; I challenge myself with patterns that contradict the idea of ​​protection and the fragility of the glass”. The shadows cast by each sculpture are an integral element and express the elusiveness of time and amplify the change of seasons in a visual manifestation.

Millstein’s work begins with sheets of lead, brass or copper, often salvaged and revealing evidence of their past lives. These metals offer a myriad of intrinsic qualities and infinite possibilities of transformation. This exhibition featured a series of wall hangings whose compositions at times evoke roots in traditional quilt patterns and at others veer into landscape and pure abstraction. Artists cut and cut and shape metal into elements that are made into compositions and sewn with thread stitches and nails. The overall work is a dichotomy of matter and meaning; the hard metal becoming “quilts”, pointed threads meticulously sewn by hand.

Mallory’s formal training in ceramic studies began in 1968 at the University of Southern California and took her to England, Europe and across the United States, and was particularly influenced by a seminal trip to Japan. . She studied with mentors such as Marguerite and Frans Wildenhain, both linked to the original Bauhaus in Weimar, Germany; Karen Karnes, famous American ceramist; and Susan Peterson, educator and author specializing in Japanese ceramics.

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