Where to see art gallery shows in the Washington, D.C., region

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Personal identity is a mask, but for Ju Yun it is 1 she stitches herself, applying components she makes and finds. Her “East Fulfills West,” a single of 6 reveals in Arlington Arts Center’s “Solos 2022,” collages items and photos to symbolically (and playfully) signify the South Korea-raised Virginia artist. Some of her paintings and wall sculptures invoke masks employed in classic Korean dance, even though hanging ribbons and strands of costume jewels yield swaying shadows.

Operate that Ju has revealed somewhere else is wildly colorful, and there are dazzling reds and oranges in these operates. But the emphasis is on shades of blue, which gleam versus the white walls like the cobalt-pigmented ornaments of East Asian ceramics. Other regular features involve Korean and Chinese textual content and a realistic rendering of a tile roof contained in a society-hopping larger piece. What distinguishes Ju’s model, even so, is fewer Korean mementos than freewheeling vitality.

One more of the solos, Sharon Shapiro’s “Then the Desire Transformed,” gives a harder-edged sort of montage. The huge-scale collages are based on aspirational pics of affluent, mid-20th-century American suburbia, into which the artist inserts incongruous things. This displays “the complexities of growing up feminine in the American South,” notes Shapiro’s assertion. The ensuing pics also emphasize contrasts involving prosperous and bad, chaos and security, settled and itinerant. In the vivid “Crossing,” a few migrants wrestle throughout not the Rio Grande, but a backyard swimming pool. Many American goals, urgent as nicely as complacent, splash collectively in the spliced image.

Upstairs in the resident artist’s gallery, Stephanie Lane demonstrates numerous designs of gestural abstraction. Her significant “Thresholds” paintings contain 1 in which a multicolored, torso-like shape emerges from darkness and a few drawing-like photos rendered generally in black asphaltum (a carbon-heavy purely natural compound) on whiteboard. Although only some of Lane’s spiraling, spontaneous images involve hints of human kinds, they all counsel bodies in movement.

Ju Yun: East Meets West Sharon Shapiro: Then the Desire Transformed and Stephanie Lane: Thresholds By means of June 18 at Arlington Arts Heart, 3550 Wilson Blvd., Arlington.

Today’s in close proximity to ubiquity of digital imagery has impressed a couple of artists to retreat into photography’s previous. A single of these technological escapees is Elena Volkova, a Ukrainian-born Baltimorean with an experience in tintype, a mid-19th-century procedure. It captures direct positives on skinny sheets of steel, yielding modest but shimmering black-on-silver photos. Volkova employed the archaic system to make the contemporary “Anacostia Portraits” on exhibit at Honfleur Gallery.

The objective isn’t particularly documentary. The topics of these official nevertheless empathetic head shots are discovered only by first names, even though a couple shots include visual clues. Numerous of the individuals are artists, one of whom was photographed with paintbrushes in hand. Most of the sitters are African Us citizens whose skin tones are rendered loaded and luminous by the higher-distinction technique.

The metallic miniatures require close inspection, but Volkova is not these kinds of an antiquarian as to insist on that. She also offers electronic enlargements on white paper that are easier to discern, and demonstrate that tintypes blow up very effectively. With their slender depth-of-area, the images do resemble historic artifacts. But the poses and expressions seem completely up to day.

Elena Volkova: Anacostia Portraits By June 18 at Honfleur Gallery, 1241 Excellent Hope Rd. SE.

The paintings in MasPaz’s “Peace Is Each and every Step” are so closely connected by design and style and colour scheme that the distinctions among them aren’t straight away obvious. Some of the pieces in the Fred Schnider Gallery of Art clearly show are on paper, some others on canvas and a third group — the most distinctive — on shaped wooden panels. All are connected by the exact pictorial structure: daring black outlines of streamlined natural forms, filled with blocks of tan and metallic gold.

Born in Colombia and lifted in Arlington, the place he’s based, MasPaz is a graffiti veteran whose nom de aerosol suggests “more peace” in Spanish. Encouraged by sojourns in New York Town and South The usa, the painter created a design which is as indebted to street tagging as to pre-Columbian sculpture and ceramics. Amid these artworks’ motifs are bouquets and the solar, even though patches of gold spray-paint depict the valuable mineral that drew Europeans to what they came to connect with the Americas.

The wooden-panel pieces are the most dynamic, in part mainly because their cut outlines abide by the styles painted on them. Also, MasPaz leaves some regions bare, calling consideration to the wooden grain and including a a little diverse hue to the slim array of beiges and golds. In pics that distill natural objects to graphic archetypes, the unadorned picket surfaces are a remnant of the genuine issue.

MasPaz: Peace Is Every Action Via June 19 at Fred Schnider Gallery of Art, 888 N. Quincy St., Arlington.

Technically, Robert C. Jackson’s hyper-realist paintings are still lifes, due to the fact they seldom depict animate existence-sorts. But the Pennsylvania artist’s humorous eventualities are nicely-populated with stand-ins for dwelling creatures. Balloon animals, corporate-mascot collectible figurines and a windup chick are amongst the inhabitants of the photos in “Back to the Long term,” Jackson’s Zenith Gallery clearly show.

The most prevalent aspects in the artist’s compositions are toys, foods and vintage crates, often emblazoned with soft-consume logos. Occasionally a single form of edible is juxtaposed with an apt plaything, such as bananas piled less than a toy gorilla or doughnut holes heaped beneath a miniature law enforcement officer. Jackson at times dabbles in artwork criticism, as when he portrays a balloon animal taped to an summary painting — both of those rendered with precise realism, of program.

The artist has been named an heir to Pop Art, and he does meticulously duplicate business imagery much as Andy Warhol and Roy Lichtenstein did. But wherever those precursors reproduced labels, pics and comics, Jackson prefers three-dimensional items. Alternatively than a box of Cap’n Crunch, for instance, he repeatedly portrays a figurine of the cereal-shilling mariner. Concentrating on 3D merchandise allows the artist to reveal his remarkable common painting skills, but also to yank them out of context. In which Pop Art commented on mid-20th-century society, Jackson’s paintings conjure his individual very little universe, rooted in buyer society but also detached from it.

Robert C. Jackson: Again to the Upcoming Via June 25 at Zenith Gallery, 1429 Iris St. NW.

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