Depeche Art

“Duly Noted Painters Cabin.” Charcoal and latex, 44 x 40 inches. Image: Foundry Gallery

Foundry Gallery
Foundry Gallery presents a group exhibition titled “Memory.” Nineteen member artists interpret the passage of time through various mediums. A sampling of the members presenting in this exhibition includes Duly Noted Painters, made up of the duo Kurtis Ceppetelli and Matt Malone, who are known for their large tableaus using recycled materials such as household paint and burlap. Their painting “Cabin” depicts an out-of-town retreat in Deep Creek Lake, Md., away from the rigors of the city.

Jay Peterzell pays tribute to Douglas Berggren, a philosopher and a professor. Peterzell describes Berggren as a man whose “depth of mind and mischievous humor vanished from the world with his death last year.”

While Duly Noted Painters and Peterzell deal with the idea of memory in terms of space and time respectively, Vu Nguyen bridges both ideas in his creative response. “Nine Dragon River Delta” harkens back to Nguyen’s childhood in Vietnam both as a place that exists in the past and one that surfaces consciously into the present.

Lastly, photographer Gregory O’Hanlon presents a visual theory of memory as a form of abstraction through an infinitely vertical sky.

Patrick Harkin, “Still from Slow Violence,” 2018. Looped video, seven minutes. Photo: Patrick Harkin, courtesy of Hamiltonian Gallery

Kyle Bauer, for his latest exhibition, “At Hand,” has created a series of works where he removes all semblance of ornamentation, revealing the very essence of his oeuvre. This essence manifests itself in sculptures which render one of the more ignoble materials – plywood – stately, as the artist produces forms that interlock in a kit-like fashion.

Bauer seeks to impart a “sense of foreboding” to the viewer. Bauer likens this sense of dread to the act of hunting, with “monumental pieces that aggressively assert their presence.” However, what is not clear is who the hunter is and who is the hunted. Should the viewer sense loathing as one who is hunted? Perhaps the viewer should empathize with the hunted and in turn anticipate the final kill? What is clear, however, is that his new series marks the beginning of a new direction for the artist, who has begun exploring the use of rawer material as well as new artistic concepts.

Patrick Harkin, in “Harm Reduction,” explores the dichotomy between that which exists and that which is perceived, through a series of multimedia works that include photographs, sculptures, videos and audible elements. The permanent and the ephemeral engage in perpetual discussion, with forms repeating themselves from work to work in a manner akin to a feedback loop. The works are further linked through sound and lighting components. In what appears to be almost a visual representation of the Hegelian dialectic, works dialogue, synthesize and form new works such as light pulse or sequential compositions. Ultimately, Harkin expresses his concern for the levels of the oceans, our society’s unrelenting obsession with conspicuous consumption and the relationship between the two.

Meg Schaap, “Untitled.” Image: Touchstone Gallery

Makda Kibour, originally from Addis Ababa, Ethiopia, works primarily as a designer in Alexandria and founded her own studio in 1994, where she still operates as its principal. However, her passion as a fine artist began early in life as she spent all of her spare time drawing and painting. Kibour considers herself an intuitive painter, which she describes as “driven by emotion that flows like lava, beautiful, hot and burning, and water cool as a winter stream – a deep, powerful and gutsy response to my inner self, letting me tell a story about myself and the world around me.” Through this emotive response, Kibour creates a series of brightly colored paintings, mostly expressive, with compositions that suggest figurative work in some instances or purely expressive ones in others. In “She Runs Wild,” Kibour’s personality peers around every turn, reflecting her emotional state and, as the artist describes, “threading and sculpting as my soul’s inspiration begins to take form.”

Meg Schaap, originally from the Netherlands, where she studied art at Groningen’s Academy of Art Minerva, travelled extensively, eventually settling in the United States, first in Florida and more recently in Potomac, Md., where she now resides. Throughout her travels, Schaap began noting the commonality between disparate cultures, an observation which continues to fascinate her and inform her work. In her latest series, “Marie Antoinette,” Schaap expounds on recent portrayals of the Austrian aristocrat who married the Dauphin of France, only eventually to meet an untimely end at the guillotine during the French Revolution.

In contemporary accounts, Marie Antoinette has been reimagined as a free-spirited teenager who sought youthful pleasures and went against the rigors imposed on her by the French court. Schaap’s portrayal of Marie Antoinette is reminiscent of Sofia Coppola’s 2016 film by the same name, which portrays the young Austrian, played by Kirsten Dunst, as a young woman who simply wants to have fun. The movie’s script and 1980s soundtrack would have the viewer convinced that they are watching a John Hughes film set in the 18th century. Here too Schaap seeks to reinterpret history with a series of portraits of the doomed and reviled queen. Schaap presents each of her Marie Antoinettes with a wallpaper background, which the artist suggests symbolizes the queen’s desire to break free from the norms of court life and in favor of one more to her liking.

Exhibitions on View
Charles Krause Reporting Fine Art
NEW LOCATION: Dacha Loft Building
1602 Seventh St. NW, Second Floor
202-638-3612 |
Hours: Weekends, 1-6 p.m.
Exhibition schedule TBD

Erick Johnson at work. Image: Gallery Neptune & Brown

Gallery Neptune & Brown
1530 14th St. NW
202-986-1200 |
Hours: Wed. to Sat.: noon-7 p.m.
March 10-April 14
Erick Johnson, “(Inside) Out”

Foundry Gallery
2118 Eighth St. NW
202-232-0203 |
Hours: Wed. to Sun.: 1-7 p.m.
Through April 1
“Memory” group exhibition

Hamiltonian Gallery
1353 U St. NW
202-332-1116 |
Hours: Tues. to Sat.: noon-6 p.m.
Through March 31
Kyle Bauer, “At Hand”
Patrick Harkin, “Harm Reduction”
Artist Talk: Tues., March 13, at 7 p.m.

Steven Cushner, “Untitled,” 2017. Acrylic on canvas, 34 x 44 inches. Image: Hemphill Fine Art

Hemphill Fine Arts
1515 14th St. NW
202-234-5601 |
Hours: Tues. to Sat.: 10 a.m.-5 p.m.
Through March 24, Willem de Looper
Through March 24, Steve Cushner “DOUBLE DOWN, Show No. 2”

Long View Gallery
1234 Ninth St. NW
202-232-4788 |
Hours: Wed. to Sat.: 11 a.m.-6 p.m.
Through February
Michelle Peterson-Albandoz, “New Work”

Touchstone Gallery
901 New York Ave. NW
202-347-2787 |
Hours: Wed. to Fri.: 11 a.m.-6 p.m. | Weekends: noon-5 p.m.
Through April 1
Makda Kibour, “She Runs Wild”
Meg Schaap, “Marie Antoinette”
Artist talk: Sun., March 25, at 1 p.m.


Phil Hutinet is the publisher of East City Art, dedicated to DC’s visual arts. For more information visit