May 2018 – Fran Abrams: For the Love of Lines – Polymer and Poetry
Opening reception Saturday, May 5, 5 – 8 pm
Sweets reception, poetry reading and artist talk: Sunday, May 20, 2:30 – 5 pm
Fran Abrams began creating artwork with polymer clay in 2000 and has been a member of Foundry Gallery since 2009. Using only polymer clay, without paint or ink, she creates artwork that hangs on the wall like a painting. Her work has won many awards in competition with paintings in more traditional mediums.
Last year, Abrams began writing poetry, too. This show, For the Love of Lines, combines her two creative passions, one old and one new. The exhibit includes all new polymer art work with each piece using lines as a design element. Also on display are poems she has written over the past year. “There is no direct relationship between a piece of artwork and a specific poem,” she says, “but rather the exhibit is intended to demonstrate how much can be expressed by just a few lines in the visual art and the carefully chosen words in the poems.”
TIME TRAVEL AT THE 7-11
A Siren song from the freezer case
that only I can hear. It’s February,
but I must have an ice cream sandwich.
A thick layer of cold vanilla ice cream
hugged by two chocolate cookies.
Now it’s August 1953. I hear the truck
with the tinkling bells. My pink sandals
slap the pavement as I skip with a six-year-old’s
confident leaps, coins in my plump, sweaty hand.
As I sit on the grass, the ice cream sandwich
melts almost faster than I can eat it.
My mother washes my hands and face
with the garden hose. Nothing left
but the wrapper licked clean and the cold
ache in my tummy and teeth. A child’s pleasure,
short-lived, but worthy of repeating.
My work is created with oil paint using color to provoke the viewers imaginations. I begin each painting without any preconceived notions and by working the canvas with low key colors certain shapes begin to evolve and so the adventure begins by adding color on color, shape on shape. Each painting is a bit of a surprise to me.
It is my intention that the viewer reads my paintings with emotion that the colors have invoked in them. Whether the paintings seem figurative or representational is of no consequence. It is the emotional outburst the viewer experiences that is close to my feelings about the painting. It is the color that creates a relationship between the painting and viewer. It is a kind of conversation they have.
I work from my memory of events that have had an impact on my life and are unforgettable and have remained with me for throughout my life. Without titles it is a challenge to the viewer to develop his or her own perception of the work creating a bond between them. Each work is personal both to me and the viewer, each in its own way.
Barbara Pliskin lived in Florida her entire life before moving to Silver Spring, Maryland in 2006.
She was the Medical Illustrator for the U. of Miami, School of Medicine for 6 years and following that she spent the next 30 years as an art teacher with Dade County Public Schools.
She has been involved in many forms of art with a concentration in painting and later in metals. Her work was shown and sold in South Florida. She is now metalsmithing and painting in Maryland. Barbara has often incorporated her knowledge of human anatomy in both her paintings and metalwork creating organic works. She attempts to let the medium she’s working with lead her in an effort to create a piece.
She has a BFA in Fine Art and an MS in Education. Her work was shown at Florida International University and Bay Harbor Galleries. Ms. Pliskin exhibited at the Waverly Street Gallery in Bethesda where she was a member for six years and in March, 2018 had a group show at Gallery B in Bethesda, Maryland.Several of her paintings were included in an exhibit in the Gloucester Arts on Main Gallery in Gloucester, VA
for the month of May, 2018.
DULY NOTED PAINTERS: We are two painters painting as one artist on the same canvas at the same time.
Unlike traditional collaborations our process does not adhere to a set formula dictating who does what. Similar to jazz musicians, at times we work simultaneously while at others one will step back and observe until inspired to take action again.
Our work is just as much about the creative process as the painted image itself. It is about compromise, discussion, feeling, mood, anger, and love. Over the years we have developed confidence and trust in each other. There are even times when we paint over each other’s work. Like our nature, each piece is experimental and we constantly push each other to grow and learn new techniques as artists.
Each piece combines responses from our individual worlds and the impressions we take from it. We typically start with an object, figure, reference, or vision. This gives us a common ground to start from and is where the painting takes root. We give it life and nurture it to the point where it begins to interact with us. When it reaches the point where we cannot help make it stronger, only then is it complete.
Duly Noted Painters are the Washington, D.C. based artistic collaborators consisting of Kurtis Ceppetelli and Matthew Malone. The two painters paint on the same canvas at the same time. They met in 2009 while working as museum guards at The Phillips Collection in Washington, DC.
Born in Sudbury, Ontario, Canada in 1977. B.F.A. from Nova Scotia College of Art and Design with focus on Paintings and Sculpture.
Born in Indiana, Pennsylvania in 1979. B.F.A. in Painting and Printmaking from Virginia Commonwealth University.
Modern Affinities, Watergate Gallery, Washington DC
Activated, Brookfield Properties, Various Locations Washington DC and Virginia
Migration 61, Bus Boys & Poets, Washington DC
Ward 5 Wonders, Art Enables, Washington DC
Figure Studies, 51st State, Washington DC
Flesh and Bone II, Hillyer Artspace Washington DC
CUBA, Hillyer Artspace, Washington DC
Implicit Bias, Bus Boys & Poets, Washington, D.C.
Nuit Blanche, Art All Night, Washington, DC
NOW & THEN: Retrospective Exhibition, Brookland Artspace Gallery, Washington, D.C.
I am NSCAD, Alumni Exhibition, and Nova Scotia Canada
Sketch Show, 51st State Bar & Kitchen, Washington, D.C.
Sketch Show, Bourbon, Washington, DC
Faceless Portraits Collection, Saatchi Art Online Gallery
Portraiture Online Exhibition Linus Galleries, Long Beach/Pasadena,
Composite Allusions, DC Arts Center Gallery, Washington, DC
James McLaughlin Memorial Staff Show, The Phillips Collection, Washington DC
Nuit Blanche, Art All Night, Washington, DC
Projections & Essences, Brookland Art Lofts Selman Gallery, Washington DC
Mayhem, Gallery Underground, Curated by Mark Cameron Boyd, Arlington VA
Duly Noted Painters, Contemporaria, Cady’s Ally Georgetown, Washington DC
Emulsion, Gallery O on H, Curated by Lauren Gentile, Washington DC
James McLaughlin Memorial Staff Show, Phillips Collection,Washington DC
Nuit Blanche, Wonderbread Factory, Washington DC
Conversations, Brookland Art Lofts Selman Gallery, Washington DC
Duly Noted Painters, 49 West Coffeehouse Winebar & Gallery, Annapolis MD
James McLaughlin Memorial Staff Show, Phillips Collection Washington DC
Annapolis Collection, Annapolis, MD
James McLaughlin Memorial Staff Show, Phillips Collection, Washington DC
Reviews and Mentions
– “In the galleries: Remapping the boundaries of drawing” by Mark Jenkins
Washington Post 2017
– “In the Galleries: Experimenting with classical sensibility” by Mark Jenkins Washington Post, 2016
– US Painters Paint Cuba, Associated Press, Havana Cuba, 2015
– US Painting Duo Seeks Inspiration in Cuba, EuroNews Article, 2015
– International Contemporary Artist, Vol. X, 2015
– “In the Galleries: Photos that take twists and turns at Civilian Art Projects” by Mark Jenkins, Washington Post, 201