The cycle of regeneration, woodcuts depict stories, inspirations from nature, innovative takes on folk tales and prints touched with poetry
The simulated foodstuffs in IA&A at Hillyer’s “ Composed/Nocturne” look good enough for someone to eat. Not a human someone, perhaps, but certainly a fly, like the one perched atop the remains of a lox-and-cream-cheese bagel, or one of the wasps that colonized a partly melted Popsicle. Judith Klausner meticulously crafted these and additional scavengers from clay, pigment and other materials.
Another saga of othering is recounted in Deborah Grayson’s elegant woodcuts of Black women, including one that gives its title, “They Think of Love as a Reddening of the Earth Under the Sun,” to her IA&A show. Rendered in strong lines, the D.C. artist’s portraits are enhanced by evocative details and bold decorative patterns. Several pictures feature buds of cotton, and one woman holds a human heart.
Adapting the Japanese practice of gyotaku, in which fish are inked and printed, Celarier piles discarded objects under silk and taps the surface with ink to yield images. The heaped items are evidently man-made and often electronic, but the resulting pictures suggest arrays of teeming microorganisms. The artist’s title for this series, “Biosphere,” is both ironic and visually apt.Celarier has another use for industrial junk.
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