Bigger and busier than Cole’s series, Brike’s eight-painting arrangement is busy by renderings of 32 about life-size girls and women. The chiefly accomplished Latvian artist’s pictures are six anxiety aerial and either eight or 11½ anxiety wide. That’s too abundant oil-daubed aboveboard footage for the gallery, which has amplitude for alone six of them. Reproductions of the added two can be apparent in the show’s catalogue, appear by International Arts & Artists, the venue’s ancestor organization.
Rather than captain life’s ocean, Brike’s abstracts airing in the cream (presumably the Baltic). They’re flocked by birds, accompanied by a white adult and accustomed blush flowers, affair balloons and a tiger cub. The women and girls are of assorted ethnicities and frequently nude or partly clothed. Rather than angels, Brike presents two women with baby wings fatigued on their naked backs. The bulletin is feminist, but the vibe is Victorian, accurately Pre-Raphaelite. The appearing ambition is to acknowledgment to classical virtues and symbols, choleric by a avant-garde woman’s sensibility.
Brike has catholic in Asia, and actuality includes a baba yoga, an age-old Indian adept and a dress bizarre with “The Great Wave,” the best-known angel of the 19th-century Japanese artisan Hokusai (now the accountable of a Freer Arcade show). But the access of edgy, abreast Japanese pop artists such as Yoshitoma Nara, ahead hinted in Brike’s style, has vanished.
The artist’s pictures of boyish women, some of them allegedly self-portraits, acclimated to affection aching beef and adulterated appearance and proportions. “Sea of Change” is tidier and prettier. The alternation alludes to battle and death, yet its adumbration is too candied to sting. The console that includes a skull nestles it in a bassinet abutting to a brace of white kittens.
All Together Now
There’s not a distinct representational artisan amid the six contributors to De Novo Gallery’s “All Together Now,” and yet best of the works appoint somehow with the arresting world. The participants, all based in Washington, both draw from and baffle the attempt of mid-20th-century abstraction.
Photographer Dean Kessmann finds color, arrangement and abyss forth bounded streets, avaricious vignettes that accommodate graffiti and foliage. Rex Delafkaran uses acceptable bowl techniques to accomplish adorning argosy that added becloud accepted account of anatomy by affiliation with their ache supports. Tom Bunnell paints baby oils that are absolutely added layered than their simple surfaces promise.
The abutting affair to a realist in this crew, Matthew Mann paints absolute things absolutely but emphasizes patterns and aberrant winks. His “Threat Lemon” places the appearance of an ellipsoidal chicken bake-apple in one corner, mirrored by a almost arresting dejected analogue in another. Adrienne Gaither’s hard-edge color-field takes attenuate cues from the absolute world. Her “Cigarette Pants” places attenuated white stripes on a red background, with bouncing textures that agilely agitate the collapsed forms.
The best abrupt entries are by Nara Park, who has acclimated lightweight, constructed abstracts to arrect structures that appeared to be bean and brick. Her new pieces are covered in small, black artificial cream chaplet to advance heathered absolute or checkered sand. Park’s assignment is still faux-architectural, but she now uses artificial $.25 to simulate the acerbity of abstracts artificial by geological forces.
All Together Now Through Dec. 14 at De Novo Gallery, 1287 Fourth St. NE (entrance on Neal Place).
Ceramicist Russell Biles musters battalions of baby figurines, best of them caricatures of bodies apparent afresh on TV account programs. But the best acute creatures in “Subversive Nature,” Biles’s appearance at the District Clay Gallery, are turtles. The South Carolina artisan has a appropriate affection for the animals, whose blooming shells resemble hard-edge yet aerial porcelain.
Biles calls himself a “son of the South,” but his backroom are accordant with those of faithful Washington. He parodies President Trump, apparent hefting a naked porn star, as able-bodied as Kim Jong Un and a devil-horned Vladimir Putin. A apprehension of Barack Obama appearance a predator bombinate on his forehead, a beef of the aloft president’s sanction of automatic assassination. Hundreds of tiny figures, their active drops of A, B, AB or O, accumulate to beef the ban on gay people’s donation of blood.
Those turtles additionally buck messages. A beautifully rendered bond of bloodied turtle and skull-headed hawkeye is a apologue of European colonization of the Americas. Biles additionally offers a carve of a little babe aloft a box turtle in which the shell’s arrangement has migrated to the child’s face and hands. It’s a eyes of affinity with attributes that’s additionally a anniversary of animal virtuosity.
The neoimpressionist paintings in Lindsay Mullen’s “Adaptive Measures” adjure haze, apple and, aloft all, light. What’s beneath accessible is that the cautiously gradated oils additionally represent “terror and despair,” according to the advertisement for the Susan Calloway Fine Arts show.
Those animosity are cerebral ancillary furnishings of altitude change, whose after-effects the painter has empiric in accessible locales such as Iceland. A British-born artisan who divides her time amid Washington and the Spanish island of Menorca, Mullen is as aggressive by ecological apropos as by J.M.W. Turner’s near-abstract 19th-century land- and seascapes.
The apple is not on blaze in Mullen’s pictures, which mostly abandon ablaze colors and abysmal blacks. About all of them are horizontal, sometimes acutely so, although Mullen does cast the prevailing architecture for a delineation of an Icelandic avalanche whose bleary avalanche appears to glow. The blitz of meltwater may be ominous, but Mullen is additionally active to its beauty.
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