Fawna Xiao (Washington, DC)

Fawna Xiao (Washington, DC)

Fawna Xiao, Avalanche, 2013
Fawna Xiao, Forest on Fire, 2013
Fawna Xiao, Glacier #1, 2013
Fawna Xiao, In the Woods, 2013
Fawna Xiao, Lost and Land diptych, 2013
Fawna Xiao, Mountain Alive: Blue, 2013
Fawna Xiao, Rocky Folds, 2013

April 2013

LOST LAND

Lost Land is about landforms, both real and imagined. Printmaker Fawna Xiao creates an abstracted landscape captured in a series of screenprinted monotypes that are a tribute to mountains, canyons, glaciers, and Martian rocks. Xiao’s work is minimalist: rich colors and lively geometrics are embraced by a generous sea of paper. A complex mountain shards into blue and silver; a glacier is simplified to white and seafoam crystals; an entire mountain range is expressed in two colors. The work is focused on the mountain distilled – free of plants, tourists, and creatures. Lost Land reveals land masses both alien and familiar, in their most raw and essential forms.

To view more of Xiao’s work, visit www.fawnaxiao.com.

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Heather Day (Baltimore, MD)

Heather Day, Seamless, 2012
Heather Day,
Heather Day, Golden Series: #1 & #2(of 6), 2012
Heather Day, Fleeting Moments, 2012
Heather Day, The Petite Drawings, 2013

April 2013

Sideways

These paintings begin at every seam, edge, and mark. Then layers of paint overlap revealing collected moments of interaction. Every mark creates a series of expectations similar to a conversation. When a question is asked, an answer is anticipated.

Stitches and mark making lead to energetic movement reading like handwriting stretching from one side of the painting to the next. Paintings often act as pages requiring several in a series to tell the story.

The layers of paint, fibers and line reflect the relationship between decay and upkeep that relies heavily on human interaction. These paintings are never planned. Each piece is a product of an experience, leaving behind documentation of how an event transpired.

To view more of Day’s work, visit www.heatherdayart.com.

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Matthew Malone

Matthew Malone, Peripheral, 2011
Matthew Malone, Pipe Dream, 2011
Matthew Malone, Division (re), 2012
Matthew Malone, Erg, 2012
Matthew Malone, Collapse, 2011
Matthew Malone, Ascending, 2012

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December 2012

Hot Pink

These images are part of an ongoing series Malone started in 2003 titled Hot Pink. The basic premise involves using pink balloons as a drawing tool to create temporary installations that he then photographs. Malone chose the color pink because it contrasts so sharply with almost any environment. It screams look at me! Initially he didn’t want to be subtle. I do realize the vast majority will stop at the color and move on. But similar to highlighting important text in a document; the intense pink alerts the educated visual reader to the place where key passages begin.

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Erika Kim Milenkovic

Erika Kim Milenkovic, Scrap, 2009-2012
Erika Kim Milenkovic, Passing: 1826 Days, 2009-2012
Erika Kim Milenkovic, Prime, 2008
Erika Kim Milenkovic, Shell, 2007
Erika Kim Milenkovic, Building, 2012

December 2012

Accumulations

Erika Kim Milenkovic’s current work focuses on how things—and life—are built by the accumulation of moments. Through her labor-intensive pieces, Milenkovic examines the world today where much is mass-produced and easily discarded. Her work, which uses basic hand-making techniques, strives to reconnect the modern individual to the creative processes of our ancestors and other living things. In this show, Milenkovic covers much territory, exploring the resourcefulness, innovation, complexity and simplicity of the human and natural world.

You can view more of Milenkovic’s work at www.ekmilenkovic.com

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R.K. Dickson

R.K. Dickson, Expulsion, 2012
R.K. Dickson, Lamentation (JB), 2012
R.K. Dickson, Grunewald, 2012
R.K. Dickson, Ecce Homo, 2012
R.K. Dickson, Sorrows, 2012
R.K. Dickson, Stigmata, 2012

December 2012

New Renaissance Prints

These prints are from an ongoing series that responds to Renaissance paintings with abstract, nearly nonobjective, prints. The structure and meaning of the original iconic images are merged and reimagined through contemporary formal strategies. The layering of formal and intellectual information on the paper surface prompts questions about where images come from and what they are meant to do. Although these prints are responses to specific images, the viewer is not expected to recognize the source material, although I welcome any associations triggered by the forms or the titles. The image area is fully alive as I allow the materials considerable freedom to dictate the direction of each image and I return to the source imagery often as a touchstone. The finished prints yield varied, but equal, answers to specific questions and of course trigger a new round of questions. Printmaker R.K. Dickson is Associate Professor of Fine Art at Wilson College in Chambersburg, PA.

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