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

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The personal identity is a mask, but for Ju Yun, she uses the materials she makes and finds to sew herself. Her “East Meets West”, one of the six shows of “Solos 2022” at the Arlington Arts Center, collages items and images to symbolically (and playfully) represent a Virginia artist who grew up in South Korea. increase. Some of her paintings and wall sculptures evoke the masks used in traditional Korean dance, and hanging a bunch of ribbons and costume jewels creates a swaying shadow.

The works that Ju showed elsewhere are very colorful, and these works have bright reds and oranges. However, the emphasis is on the shade of blue that shines on the white walls, like the cobalt-colored ornaments of East Asian ceramics. Other traditional elements include Korean and Chinese texts, and realistic renderings of tiled roofs in large culturally-flying pieces. But what distinguishes Ju’s style is that there are fewer Korean souvenirs than bohemian energy.

Another solo, Sharon Shapiro’s “Then the Dream Changed,” offers a montage of harder edges. The large collage is based on ambitious photographs of the wealthy suburbs of the United States in the mid-20th century, where artists insert discordant elements. This reflects “the complexity of women growing in the southern United States,” Shapiro’s statement said. The resulting photographs also highlight the contrast between rich and poor, chaos and stability, and a calm itinerary. In the vibrant “Crossing”, three immigrants struggle across the backyard pool instead of the Rio Grande River. The spliced ​​image is filled with a variety of urgent and self-satisfying American dreams.

Stephanie Lane, located upstairs in the Resident Artist’s gallery, shows multiple styles of gesture abstraction. Her large “threshold” paintings resemble three paintings of colorful torso-like shapes emerging from the darkness and three paintings on a whiteboard, primarily black asphalt (a natural material rich in carbon). Picture is included. Only some of Lane’s spiral spontaneous photographs contain hints of human form, but they all suggest a moving body.

Ju Yun: East meets West; Sharon Shapiro: Then my dreams changed; When Stephanie Lane: Threshold Until June 18th Arlington Arts Center3550 Wilson Blvd., Arlington.

The near ubiquity of digital images today has inspired several artists to retreat into the past of photography. One of these technical escapes is Elena Volkova, a Ukrainian-born Baltimore with tintype expertise in the mid-19th century process. She captures the direct positives of a thin metal sheet and produces a small but shimmering silver-on-silver image. Volkova used archaic techniques to create the contemporary “Portrait of Anacostia” on display at the Honfleur Gallery.

The purpose is not exactly documentary. These formal yet empathetic headshot subjects are identified by name alone, but some photographs contain visual clues. Some were artists, one of whom was photographed with a paintbrush in his hand. Most of the sitters are African-American, and their skin tones are rich and bright due to the high contrast method.

Metal miniatures require scrutiny, but Volkova isn’t an antiquarian to claim it. She also provides digital magnification on easy-to-identify white paper, showing that tintype photographs explode very well. Due to the narrow depth of field, the photo resembles a historic relic. Still, the poses and expressions look completely up to date.

Elena Volkova: Portrait of Anacostia Until June 18th Honfleur gallery, 1241 Good Hope Road. SE.

MasPaz’s “Peace Is Every Step” paintings are so closely related by design and color scheme that the difference between them is not immediately apparent. Some of the Fred Schneider Gallery of Art Show works are on paper, others on canvas, and the third group (the most distinctive) on shaped wooden panels. Everything is linked in the same pictorial format: filled with streamlined, naturally shaped bold black contours, tan and metallic gold blocks.

Born in Colombia and raised in Arlington, where he is based, MasPaz is a graffiti veteran with the name Aerosol, which means “more peace” in Spanish. Inspired by his stay in New York City and South America, the painter developed a style that benefits from street tagging, similar to pre-Columbian sculpture and pottery. Among these artwork motifs are flowers and the sun, and gold spray-painted patches represent the precious minerals that attracted Europeans to what they came to call the Americas.

The parts of the wooden panel are the most dynamic, as their cut contours partially follow the shape drawn on them. MasPaz also exposes some areas to draw attention to the grain and add slightly different hues to a narrow range of beige and gold. In photographs of distilling natural objects into graphic prototypes, the undecorated wooden surface is a real remnant.

MasPaz: Peace is every step Until June 19th Fred Schneider Gallery of Art888 N. Quincy St., Arlington.

Technically, Robert C. Jackson’s super-realist paintings are still lifes, as they rarely depict living things. Still, the humorous scenarios of Pennsylvania artists have many substitutes for creatures. Pictures of Jackson’s Zenith Gallery show “Back to the Future” include balloon animals, corporate mascot figurines, and windup chicks.

The most common elements of artist composition are toys, food, vintage crates, often adorned with soft drink logos. One type of food may be juxtaposed with suitable play equipment, such as stacking bananas under a toy gorilla or stacking donut holes under a miniature police officer. Jackson sometimes touches on artistic criticism, such as when drawing a balloon animal taped to an abstract painting. Of course, both are rendered with accurate realism.

Called the heir of pop art, this artist, like Andy Warhol and Roy Lichtenstein, meticulously copies commercial images. But if those pioneers duplicate labels, photos, and cartoons, Jackson prefers three-dimensional items. For example, he repeatedly draws a cereal shilling marina figurine instead of a capn crunch box. By focusing on 3D items, the artist can not only show his impressive traditional painting skills, but also yank them from the context. When pop art commented on mid-20th century society, Jackson’s paintings are not only rooted in consumer culture, but reminiscent of his own little universe separated from it.

Robert C. Jackson: Back to the Future Until June 25 Zenith Gallery1429 Iris St. NW.

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