Depeche Art

Vu Quoc Nguyen, “Basin Waterflow.” India ink, charcoal and graphite on paper, 18 x 24 inches. Image: Foundry Gallery

Foundry Gallery
The paintings presented in “Meridian” by Vu Quoc Nguyen represent the next step in the artist’s creative process. He explains, “Over the past several years, representational elements in my work have gradually vanished.” Nguyen’s “representational elements” have yielded to a meditative mark-making process which the artist believes aligns with his heritage and the “natural world.” However, while certainly abstract, taken collectively, the brush strokes tell a larger story. As the artist explains, “These patterns reflect my observations of the elements that make up physical and non-physical spaces. There is a sense of randomness dispersed among an organized matrix that relates to topographic maps in their description and quantification of boundaries, elevations, and depressions.”

Sera Boeno, “Ornament VIII: Ring Gag with Rumi Motifs,” 2019. Cast bronze, 6 x 4 x 3 inches. Photo: Sera Boeno, courtesy of Hamiltonian Gallery

Hamiltonian Gallery
Sera Boeno, a native of Turkey, spent six years exploring “gender-related power struggles.” Boeno’s exhibition “Kelimeler Kıyafetsiz (:Words Naked/Are Not Enough)” has as its centerpiece an installation inspired by the ancient Altar of Pergamon, rediscovered in present day Izmir, Turkey, during the 19th century. The entire temple was brought, piece by piece, to Berlin where it was reassembled and is still exhibited at the Pergamon Museum. Boeno’s duplicate structure will serve as a backdrop for a series of performances that will deconstruct the manner in which societies, both eastern and western, mistreat and subjugate women.

Kaitlin Jencso’s “Through the Looking Glass,” titled after Lewis Carroll’s timeless adventures of Alice in Wonderland, takes the viewer through present-day alternate worlds, ones which should be familiar to all viewers. Jencso deftly captures images of subjects interacting with their mobile devices, trapped in another reality, like Alice, who could not escape the lure of a reflective surface. Jencso takes the concept a step further by generating what she calls a voyeuristic feedback loop in which the subjects of her photographs “are caught in a moment of disengagement while ‘performing’ themselves in hedonistic public spaces such as dancefloors, the beach or crowded bars.”

Mildor Chevalier, “Threshold,” 2017. Acrylic on canvas, 34 x 60 inches. Image: IDB Staff Association Gallery

IDB Staff Association Gallery
Born in 1982, Mildor Chevalier emigrated from his native Haiti to the neighboring Dominican Republic, where he received a fine arts degree from the School of Design at Altos del Chavon. His proficiency as an artist landed him a scholarship at Parsons New School of Design in New York City, where the artist has made his permanent home. In “Northward,” his current solo show of 16 acrylic paintings at the IDB Staff Gallery, Chevalier taps into his collective memory and life experience as an immigrant to explore themes of solitude and belonging. His works depict “imaginary architectural spaces” with the artist “situating people interacting or inhabiting alone in these spaces,” according to the gallery. Chevalier has exhibited in the Americas, Europe and Asia.

Marcia Coppel, “Do you Remember When.” Acrylic on canvas, 22 x 28 inches. Image: Touchstone Gallery

Touchstone Gallery
Marcia Coppel’s “Apart?? Together??” is an extension of the artist’s figurative series, using bold, vibrant, warm colors to depict people at play, usually at a restaurant or at the beach, often under umbrellas. The artist trades “anatomical reality” for what she calls “whimsical bodily depictions emphasized by rich colors, venturing into caricature.” The cheerful nature of her color palette and the almost cartoon-like nature of her subjects lend the work to a humorous interpretation of the human condition.

Lisa Tureson’s solo exhibition “/glim(p)se” uses abstract forms and a natural color palette to create paintings which evoke landscapes that appear simultaneously familiar and unreal. Compositionally, Tureson strategically places warm-colored brush strokes to disrupt large swatches of cooler colors, creating boundaries and forms allowing the viewer to make sense of the abstraction.


Gallery Neptune & Brown
1530 14th St. NW
202-986-1200 |
Hours: Wed. to Sat., 12-7 p.m., Sun. 1-4 p.m.
Through April 20
Foon Sham, “Twist of Lime”

Foundry Gallery
2118 Eighth St. NW
202-232-0203 |
Hours: Wed. to Sun., 1-7 p.m.
Through April 28
Vu Quoc Nguyen, “Meridian”

Kaitlin Jencso, “Untitled (15th Street),” 2019. Archival inkjet print, edition one of three, 20 x 30 inches. Photo: Kaitlin Jencso, courtesy of Hamiltonian Gallery

Hamiltonian Gallery
1353 U St. NW
202-332-1116 |
Hours: Tues. to Sat., 12-6 p.m.
Sera Boeno, “Kelimeler Kıyafetsiz (:Words Naked/Are Not Enough)”
Kaitlin Jencso, “Through the Looking Glass”

Hemphill Fine Arts
1515 14th St. NW
202-234-5601 |
Hours: Tues. to Sat., 10 a.m.-5 p.m.
Through April 28
Rusher Baker IV, “Post-World”

IDB Staff Association Art Gallery
1300 New York Ave. NW
Entrance on 13th Street NW
202.623.3635 |
Hours: Mon. to Sat., 1-7p.m.
Mildor Chevalier, “Northward”
Through May 3

Long View Gallery
1234 Ninth St. NW
202-232-4788 |
Hours: Wed. to Sat., 11 a.m.-6 p.m.
March 7-April 7
“Refresh IX” group exhibition

Touchstone Gallery
901 New York Ave. NW
202-347-2787 |
Hours: Wed. to Fri., 11 a.m.-6 p.m. | Weekends, 12-5 p.m.
Through April 28
Marcia Coppel, “Apart?? Together??”
Lisa Tureson, “/glim(p)se”


Phil Hutinet is the publisher of East City Art, DC’s alternative art source. For more information visit