Math and Art

9/17/11

My new series Beautiful Equations uses physics and mathematical concepts or simply numbers as object to explore emotions and perceptions -- check it out here -- so I'm on the lookout for other artists doing the same. There's Alfred Jensen and Jasper Johns of course, but where I sometimes use numbers to create chaos, Ursus Wehrli makes order out of the universe (in one instance, literally). NPR's science feature did an interesting article on him: Extreme Tidying Up.

If he came over to my studio, I wonder if he'd run screaming from the room or stay for hours straightening up. If A&E ever does a Hoarders: The Artist Studio special, I'm so in.

Lottery (Painting for Synesthetes 2)

Acrylic & Charcoal on Canvas

38 x 26 inches

2011

New Art, New Article

9/14/11

Many thanks to Topher Forhecz at the Gazette for his wonderful feature on Adah Rose Gallery, Elizabeth Grusin-Howe and myself! To celebrate, here's some new work...

The Sum of All Your Parts

60 x 50 inches

Long Division

36 x 24 inches

 

  Down for the Count

12 x 12 inches 

Tragic Math

12 x 12 inches 

Self-Contained 

12 x 12 inches

Split This Rock @ Studio Gallery for the 9/11 Arts Project

9/8/11

 

Sunday September 11, 4 - 6 pm: Studio Gallery and Split This Rock collaborate for a special September 11th Reception with poetry and music.

Artists everywhere have been moved to create work in response to the events of 9/11, both immediately afterwards and over the past 10 years. By bringing together past and present work, we hope to illuminate ways in which art can help us to process catastrophe and its aftermath. The participating artists have been asked to reflect on their work in this regard, and their observations and insights will be included in the exhibition. For more happenings in this massive citywide collaboration, visit the 9/11 Arts Project calendar of events.

After You by Lori Anne Boocks

70 x 48 inches

New Works on Paper: Summer 2011

9/5/11

For my new series of textscapes called Evidence, I'm omitting geometric shapes and keeping the focus on writing. Each one is 22 x 17 inches, and acrylic and charcoal on Annigoni cotton-wool blend paper.

In the Midnight Garden

Smoke and Lilacs (by your side)

Summer Came In (all heat and promise like your first kiss)

Under My Skin

New Space for Metro DC Art: Adah Rose Gallery

9/2/11

Adah Rose Bitterbaum, independent curator and former director of Studio Gallery in Dupont Circle, is launching Adah Rose Gallery in Kensington's Antique Row, and she's featuring Elizabeth Grusin-Howe and me in her inaugural exhibition.  Joan Belmar and Mei Mei Chang's duo show will be up after ours. Antique Row also has Third Thursdays, and Adah Rose looks forward to hosting music and literary events and, in the future, she hopes to offer art classes for children and adults. The Montgomery County arts scene is evolving, and I'm excited about being a part of this new venue. Showing with Elizabeth is great because even though we work in different mediums, we have similar processes of applying and removing layers and layers of color in our works.


The Mysteries of Place and Space
September 7 - October 9, 2011
Opening Reception: September 10, 6-9pm
Music by Walker Road
Catering by "Cookies"

Adah Rose Gallery
3766 Howard Ave
Kensington, Maryland 20895
Hours: Friday through Sunday 12-6pm and by appointment.
301-922-0162
www.adahrosegallery.weebly.com
info@adahrosegallery.com

  
The inaugural show at Adah Rose Gallery features the work of artists Lori Anne Boocks and Elizabeth Grusin-Howe. Ms Boocks, a painter, is the keeper of stories. The act of remembering and sharing stories is a powerful influence on her work. Just as the passage of time creates layers of experiencing -- the remembering of an event, the misremembering of it, the distancing, the forgetting -- are all important pieces in her process and thinking. In her paintings, text serves as both subject matter and the basis for mark-making. Texture for each piece comes from her hands, brushwork, and a subtractive process where layers of poured washes are added to the surface, then partially removed with cloth. Ms Grusin-Howe, a printmaker, also uses layering in her one of a kind prints that revel in the splendor, decay and serenity of Venice. In layers of paint, metallic pigments and waxes, she builds layer upon layer reflecting the experiences of the city itself and the intrigue and stories implicit in such a mysterious place.