Artists Reception Saturday May 5, 2018 4-6PM

You are invited to join us for a joint reception for our two current exhibiting artists Barbara Frank and Chee-Keong Kung. The reception will be held this Saturday May 5th, 2018 from 4-6PM. Light Refreshments will be served and parking is available in the covered visitor garage across the street from the Schlesinger Center. The address is 4915 East Campus Drive Alexandria, VA 22311.

These are two stylistic different artists who are held together by a passion for movement,  and the mythic beauty in all aspects of the natural world.

For more Information you can visit the Schlesinger Center website.

White Light by Chee-Keong Kung
Under Water Over Sky by Barbara Frank

Conversation with Maroulla – Weds, April 18th, 12:30pm

Please join us for a special weekday conversation with sculptor, artist and current exhibiting artist Maroulla.

TIME: Wednesday, April 18th at 12:30PM

Maroulla’s dedication to her art form – marble and alabaster sculpture is expressed in the focused and passionate nature of her commitment to her art practice. This talk promises to be a engaging and enlightening for all participants. We hope that you can join us “In the Room” with Maroulla! For more about Maroulla’s work visit her ABOUT THE ARTIST page.

We meet on the second level of the Schlesinger Arts Center on the Alexandria Campus of Northern Virginia Community College at 12:30PM.  The address is 4915 East Campus Drive, Alexandria, VA 22311

If you are coming from off campus – There is paid parking – 2 dollars an hour – in the garage across the street from the center. We will have light refreshments. We look forward to seeing you!

Vision, Expression, Impression – Sculptures by Maroulla

Our current Fisher Gallery exhibit, Vision, Expression, Impression – Sculptures by Maroulla is on display until April 22nd. Carving in both marble and alabaster, Maroulla present both figurative and abstract works that are timeless in their elegance and beauty.

This show will be open special weekday hours and by appointment.

 

 

 

 

 

 

The Vision, Expression, Impression schedule is as follows

Monday: 12-3 pm
Tuesday: 1-4 pm
Wednesday: 1-4 pm
Thursday: 1-4 pm
Friday: March 17th 12-pm

All other Fridays 1-4pm

The reception is March 24, 2018 4-6PM

Weekend hours will be posted on  The FisherArtGallery Facebook and Instagram every Friday COB.

Small Domestic Miracles: Works by Emily R. Shepardson

Emily Shepardson Monotype - Crossing into AutumnEmily R. Shepardson will be having a solo exhibition entitled Small Domestic Miracles in the Fisher Gallery of prints and paintings starting January 20, 2018 and running through March 5, 2018. There will be a artist reception on Saturday afternoon, February 10, 2018 2-4PM.

Emily is a printmaker and painter who describes her process has collage-like. For a print she will begin with a series of different plates and stencils layers and combined until the final image is achieved.

She describes small domestic miracles as household magic like soaking white napkins in bleach to remove food stains, or perfectly gluing a broken cup back together again. It could also be catching sight of a tangle of birds circling over the house or having a crow follow me to work. In my art, it’s a glimpse of a swan in the creek, or the shadow touch of a hand on your back.

You can follow Emily on Instagram at @shepardsonemily

Past Control, Pest Control by Kyujin Lee

The Margaret W. & Joseph L. Fisher Art Gallery at the Rachel M. Schlesinger Concert Hall and Arts Center at Northern Virginia Community College’s Alexandria Campus welcomes the unique artwork of regional artist Kyujin Lee whose show Past Control, Pest Control will be on display from Nov. 10, 2017 to Jan. 15, 2018. An artist’s reception is scheduled for 2 p.m. to 4 p.m. Saturday, Nov. 11.

Kyujin Lee; Unbind; 73” x 53”; ink, watercolor, acrylic on canvas; photo courtesy of artist.

Haunted by Quiet Places by Annie Farrar

The Margaret W. & Joseph L. Fisher Art Gallery will display the unique mixed media art exhibition Haunted by Quiet Places by Annie Farrar. The exhibition will be on display from Sept. 22 to Nov. 5 with an opening reception scheduled for 2 p.m. to 4 p.m. Saturday, Sept. 23.

Haunted by Quiet Places is an exploration of the relationship between realism, reality, and our experiences of space and time. The exhibition includes Annie’s two sculpture series Vanitas and Singularities which use mirrors, skulls and sentimental objects that have emotional ties and meaning to present images that both ask viewers to think of the past, future and expansive nature of time.

Annie Farrar; The Art History Lesson; found objects, sisal twine and paint; 23″x 20″x 18″; 2016

The Time of No Time by Nahid Navab

The Margaret W. & Joseph L. Fisher Art Gallery at the Rachel M. Schlesinger Concert Hall and Arts Center at Northern Virginia Community College’s Alexandria Campus will display the art exhibit The Time of No Time, a collection of works by artist Nahid Navab. The show will be on display from Aug. 7 through Sept. 17 with an artist’s reception scheduled for 2 p.m. to 4 p.m. Saturday, Aug. 12. Some of the pieces in The Time of No Time are multi-layered, multi-textured abstract, and figurative handprints imply a state of floating in search of a shelter or something to hang on. Navab explained that her work tells stories and represents figures and objects that hold their dignity while facing chaotic situations.

Nahid Navab; Lost Horizon; mixed media handprint; 30”x22”; 2017: courtesy of artist.

A Conversation with Wayson R. Jones

Artist Wayson R. Jones

***The Margaret W. & Joseph L. Fisher Art Gallery at the Rachel M. Schlesinger Concert Hall and Arts Center is currently displaying “Memory, Mostly Self” by regional artist Wayson R. Jones. His work will be on display through July 30. In an effort to give more insight into Jones’ work and why he was compelled to create these pieces, the Schlesinger Center spoke with him about his artistic process.

Jones recently received the Prince George’s County Arts and Humanities Council Individual Artist Grant. He received a bachelor’s degree in music from the University of Maryland College Park, studied drawing fundamentals and intermediate drawing at the Capitol Hill Arts Workshop and figure drawing at the Washington Studio School. In previous years, he has displayed his work in various solo and group shows in the D.C. metro area, Pennsylvania, Indiana, New York and California.***

Schlesinger: Was there a particular experience that inspired you to pursue visual art (given your background in music and performance)?
WRJ: Yes, actually. When I lived on Capitol Hill, I did something I’d been thinking about for a while – making collages with the autumn-color leaves. So I was going to Michael’s craft store buying light box-type frames for them. Of course the collages turned brown in a couple of months, but by then I’d bought a few oil pastels, just out of curiosity. I’d done visual pieces since I was in my 20s, one every 4 or 5 years or so, so it wasn’t completely new. Once I started with chalk pastels, I started really getting into it and showing my work. Artomatic 2008 was the first time, and it’s just gone on from there.

Schlesinger: What are your artistic inspirations?
WRJ: Most of it comes from my immediate environment, mostly the sky and the street. Clouds, stars, frozen salty winter streets, stained sidewalks, roadkill. As far as fine art, abstract expressionism, particularly Joan Mitchell, Mark Rothko, Robert Motherwell, Jean Dubuffet. Artists who are really invested in materiality, like Sam Gilliam, Lynda Benglis, Chakaia Booker. Those who work at large scale, like Martin Puryear, Leonardo Drew.

Schlesinger: The surfaces of your paintings are very textured and multi-layered. What can you tell us about your creative process?
WRJ: It’s intuitive, with no preliminary sketches. I’ll start with just knowing what sort of piece I’m going to do, as in this figurative series. Most of the pieces in this show (e.g., Swirling, Beautiful Flower, Judger) are done by pouring acrylic gloss medium on the surface, using it to draw the figure and gestural marks, then sprinkling powdered graphite and working it with a palette knife. The acrylic creates a resist that leaves the drawn lines more or less the white of the paper. The uneven blending of the materials gives the illusory depth. I like that the result of a fairly simple process can be visually textured and complex.

Swirling, powdered graphite and acrylic medium on paper, 22” x 30”

Schlesinger: When people look at your work, what do you hope they get from it? What kind of reaction were you going for when creating this body of work, and what kind of conversation do you hope it provokes?
WRJ: I want them to feel a sense of presence, a feeling of energy directed toward them from the figure. I don’t consider that I’m teaching, but creating an experience for the viewer. The main reaction I want is for people to not just look at but to see the work. I guess I don’t have goals in terms of reaction or conversation. That there’s reaction to and conversation about the work is a good thing in itself; remarks are almost always interesting and sometimes illuminating.

Schlesinger; Compared to your other work, how are the paintings in Memory, Mostly Self different?
WRJ: Mainly in that they’re among the most intentionally figurative pieces I’ve done. But the techniques and materials are the same as my more abstract stuff.

Schlesinger: A lot of artists say that a piece is never really complete. If anything, what would you change or do differently about this body of work?
WRJ: I find almost the opposite. There’s a pretty defined point at which the piece lets me know it’s done, and going beyond that is nearly always a mistake. I wouldn’t change anything about these particular pieces; I’m very pleased with them overall. If I go back into a piece, it’s usually to completely rework or paint over it.

You can find so much history and culture that inspired the black community over the decades in the pages of Jet and Ebony. Why were the male images from these magazines important to include in your creative process for this show? What role did those magazines play in your childhood?
WRJ: The identification with the Ebony/Jet images was a post-hoc thing, coming after the pieces were finished. It’s what resonated for me when I looked at the images. So I wouldn’t really say they were included in the creative process, more so the titling and what the images suggested. Several of the pieces are self-portraits based on an old family snapshot, when I was around 6 or 7. I think the tie-in with the magazines is very much about memory of those times more so than their cultural significance, which I didn’t really understand as a kid.

What can viewers and art lovers expect from your work in the future?
WRJ: If this series continues, it will probably go bigger and on different surfaces: canvas, wood or aluminum maybe. I’ve also started a series of collages that were inspired in part by this figurative work. I’m using laser prints of the same childhood photo in some of them.

Wayson R. Jones’ “Memory, Mostly Self” will be on display in the Fisher Gallery through July 30 with an artist’s reception 2 p.m. to 4 p.m. Saturday, July 8. Read another Wayson Q&A with East City Art here.

Lachesis’ Order by Amelia Hankin

The galleries at the Rachel M. Schlesinger Concert Hall and Art Center at the Northern Virginia Community College Alexandria Campus will display the art exhibit Lachesis’ Order by artist Amelia Hankin. The show will be installed in the Passage and Forum galleries from May 12 to July 30. Hankin’s current body of drawings and screen prints reference the superstitious beliefs that emerge in everyday life – from stepping on cracks in the sidewalks to opening an umbrella indoors. Through repetitive imagery rendered in fine detail, Hankin questions the tipping point between harmless acts of routine and the human obsessiveness with order, manifested in these rituals.

Amelia Hankin, Dreamcatchers with Pattern, screen print, 2017, photo courtesy of artist.

Unmasked by Wilfredo Valladares

The Margaret W. & Joseph L. Fisher Art Gallery at the Rachel M. Schlesinger Concert Hall and Arts Center is honored to exhibit a series of sculptures by regional artist Wilfredo Valladares in his solo show Unmasked. The show will be on display April 17 to June 4. Wilfredo explained that this body of work explores the interconnectedness of cultures. In creating the series, he used bronze wood, bronze steel, cast iron rolling pins and other materials. The sculptures capture relationships between people and cultures and tell their unique stories.

Wilfredo Valladares, Unmasked 1. Variable dimensions. Bronze wood.