STATES OF BEING
November 14, 2020 – January 10, 2021 ***Due to us closing our doors for a few weeks during the holidays, we will be extending the show until February 7th***
Digital Reception: December 10, 2020 on Zoom
Missed it? Click here to view the full talk!
Curated by Fabiola R. Delgado
Sparkplug Collective Artists: Tom Greaves, Sarah J. Hull, Shana Kohnstamm, Alanna Reeves, Azadeh Sahraeian, Elizabeth Sampson, Alexandra Silverthorne, Sarah Stefana Smith, Madeline A. Stratton, Steve Wanna
States of Being presents multidisciplinary artworks, including painting, sculpture, print, photography and site-specific installation, that reinterpret sociological concepts and discuss the nature of unpredictability, our response to ambiguity, and the profound impact of an under-defined and fluid state of life.
Sparkplug is DCAC’s artists collective. Launched in 2007, Sparkplug is a two-year program that offers members a place to meet, helps to organize studio visits, provides opportunities to hone presentation skills, and make connections with arts professionals such as curators, collectors, and established artists. In addition, DCAC organizes two curated Sparkplug exhibitions: one each year.
Fabiola (or just Fa) is a Venezuelan Human Rights Lawyer turned Arts and Culture Strategist. A social justice activist since childhood, she became the youngest Amnesty International Regional Manager, installing the first chapter of the organization in her state of Carabobo at age 19.
Her political activism in Venezuela proved too dangerous, which forced her to seek Political Asylum in the United States, where she dedicates herself to finding justice through artistic and cultural expressions.
A Native Son
work by Gary Honig
October 10 – December 10, 2020
virtual reception with the artist: TBD
“A Native Son” is a collection of new works highlighting Honig’s delicate sensibilities as a painter.
These active paintings use a deconstructed method, blurring and breaking down imagery on multiple levels. Honig is process-driven and invested in the act of painting. From right to left, the role of the artist steps far back, influenced by the expanding microcosm of activity and color. They then move to cut and shifted works, gaining a new control again of the image at arm’s length. Ultimately, torn and reassembled paintings focus on organic yet geometric color segments, as if the artist were very close and involved.
These small works are deeply emotive and personal. Like society at large, our understanding of events and concepts begins on a global level. As an individual considers events, connections shift and the focus changes to become something to work on. The picture has even, balanced parts. And then, as personal connections begin from small pieces, they are not always weighted the same. These collaged pieces of different sizes become something we work and add to, to create a new whole.
The paintings progress and grab inspiration from Richard Wright’s novel, “Native Son.” He claimed the title as a double comment on what it means to be fully from a place. By using lines from the novel for his titles, Honig found similarities between legal justice of the 1940’s and many points made today with Black Lives Matter.
Honig is a DC native, and his work is deeply inspired by music and the connections between people.
“Vast White Looming Walls” (detail), 2020, acrylic on paper, 8″ x 6″