September 2-30, 2016
Please join us for the opening reception of our new exhibitions on First Friday,September 2, 6-9pm sponsored by Circa.
Handmade is a series of new sculptures that explore my reinterpretations of common manmade objects and techniques of building forms by hand. I am fascinated with discovering new approaches to working with a material and enjoy the challenge of trying to resolve how I can utilize these to make forms. The resulting sculptures are up front infused with humor and playful explorations of materials but throughout the work I explore ideas about gender roles and self-reflection. These themes are more pronounced in some work and subtle in others. Ultimately my hope is that the viewer looks and contemplates them a little deeper to realize these manipulated objects and materials hold layered ways to experience and interpret meaning.
Suzi Fox is a sculptor based in Northern Virginia. She has exhibited in several national and regional exhibitions. Her work uses process as the primary means for generating form and the potential play of meaning. Through manipulations such as carving, weaving and twisting materials she begins to understand the direction to pursue for a sculpture. Fox received her Master of Fine Arts at Rhode Island School of Design and her Bachelor of Fine Arts at Virginia Commonwealth University. She is an Adjunct Professor of Sculpture in the District.
I was twelve when I first saw Francis Bacon’s Study after Velasquez’s Portrait of Pope Innocent X at the Des Moines Art center. After thirty years I still see his influence on my work. My figurative work like Bacon’s are often solitary and displayed in a series. Our compositions are both haunting and distorted; influenced by the progression of time and the motion of the figure. The visual representation of movement and time’s effect on the human form is vital to my work. In my paintings I distort time by overlapping various moments together in one composition.
I use a combination of photography, digital collage, animation and projections to create multifaceted figures that appear to move and animate. One composition may consist of four or five different poses and time frames. Overlapping echoes – a figure may merge into another or become a haunting monstrous abstraction – appearing to be trapped between an important decision and a solitary disquieting moment. I describe the figures as complex layers of half-truths, fading and emerging from displaced time and space. Inspiration for my work comes from the notion that our conscience is guided by our experiences and the limitless decisions we make each day. The paintings in this show are a visual representation of those decisions. What you see is a human form collaged together from separate time frames and reassembled to create a portrait outside of measurable reality.
Scott Hutchison received his BFA in 1995 at Drake University in Des Moines, Iowa and an MFA in painting from The George Washington University in 1999. He currently resides in the DC metro area; teaching painting and drawing at Georgetown University and at The Art League. His artwork has been featured in a variety of venues. Most recently his drawings were selected for “Drawing: The Art of Seeing” at The Atlantic Gallery in New York City and “Perspective: Fresh Look at Contemporary Painting and Drawing” at The Hillyer Arts Space in Washington DC. Highlights from his solo exhibition record include: “In Motion”, at Red House Art Center, Syracuse, NY and “In Sequence” at the Blackrock Center for the Arts in Germantown Maryland.
I see my drawings as places in transition; a tracing and excavation of numerous histories layered within a single form. Based upon my immediate surroundings, the images exist as record of physical, psychological, and spatial navigations: amalgamations of thousands of individual moments of consciousness. The drawings map day-to-day, month-to-month, and often seasonal changes manifested within a given space: the natural fluctuations of light, the shuffling of objects, and the shifting of my own physical proximity and perspective. Over time, descriptive information collapses, breaks down, and is rebuilt again. Fragmented moments of clarity and disorientation overlap one another, existing simultaneously within the drawn space. As charcoal possesses immediacy in its materiality that can be applied and taken away with ease, so are the numerous panels of paper added and subtracted throughout the drawing’s organic evolution. Similar to tectonic plates, the panels of paper shift, split, converge, and diverge in response to pictorial pressures, suggesting individual cavities of space. In this manner, the drawings are in a constant state of flux, both in their visual forms and physical construction.
Christian Brahe is a painter. He received his BFA from Virginia Polytechnic Institute and State University in 2012, and his MFA from the University of North Carolina at Greensboro in 2014. Brahe lives and works in Williamsburg, Virginia.