Exploring "The Lives We Never Lived"

By Skylar Ogunshakin-White 

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The Lives We Never Lived is a group exhibition exploring alternative pasts, presents, and futures. It explores how the choices we make and the ones we don’t make shape who we become, questioning parts of ourselves that could have existed but never came to be. It focuses on the relationship and perceptions of how we view ourselves as human beings, including how self-critical we are and our capacity for good judgment, and whether that aligns with our chosen paths—confessions of our insecurities, truths, and desires. The parts of us that ponder, yet remain unseen within the human experience. 

In this curating process, I was inspired by the idea of evolution and the “why” behind who we are as individuals. I wanted to create a theme that allowed for open interpretation and encouraged the 50 artist members featured in the exhibition to explore their own experiences, perspectives, and personal discovery. My goal was to challenge artists to engage in self-reflection by exploring identity in a way that hasn't been approached before. Fundamentally, the exhibition serves as a test, asking whether you're truly content with yourself and how far you've come in life. 

Jazz Williams, Merlot, Oil, tissue paper, glitter, acrylic paint, gel pen, nail polish, and cut paper on acrylic panel, 7 x 5 inches 

In Merlot by Jazz Williams, the artist uses tissue paper, acrylic paint, glitter, cut paper, and other mixed media materials on an acrylic panel. The piece was created upon a gift that she received in the past, serving as a tribute to the things “ that build us up to who we are and who we can become.” Jazz Williams is known for being a mixed media painter and incorporating themes of the black femme body and the natural world in her work. I love the idea of layering in Jazz’s pieces, as it feels reminiscent of the different phases and experiences throughout her womanhood. It’s as if each flower has witnessed a different part of her life, quietly carrying the memories of her journey. Rather than dwelling on the past, it is more appreciative of the relationships and support of those who have touched us. 

Debra Perkins, Essex Street, Acrylic paint on canvas, 12 x 12 inches

Leading to less defined forms, Debra Perkins uses abstraction to express meaning. Your eyes can follow the lines throughout Essex Street, reflecting on the human experience as a whole. The painting draws on memories of New York City from long ago. Perkins uses streaks of black and gray to build upon the texture of the street, creating a sense of movement of people from all walks of life. Within each person lies something unique: their story, identity, and unspoken aspirations. Perkins captures the complexity of individual experiences surrounding a shared environment. The work encourages viewers to consider the hidden narratives, choices, and personal backgrounds to understand our character and navigation in life better.

Elaine Florimonte, 6.20.26, Acrylic collage on panel, 6 x 6 inches

Elaine Florimonte, 06.23.26, Acrylic collage on panel, 6 x 6 inches

Elaine Florimonte, 06.24.26, Acrylic collage on panel, 6 x 6 inches

Elaine Florimonte draws a connection between her artistic practice and navigating everyday life in her small-scale pieces 06.20.26, 06.23.26, and 06.24.26, which are part of her daily painting challenge series. Through intuitive layers of collage and color, she responds to evolving spatial relationships, allowing each mark to inform the next. The work reflects how each experience builds upon those before it, suggesting that even the smallest moments contribute to the paths we ultimately follow.

Skylar Ogunshakin-White, Where Memories Blur, A New Consciousness Begins, Acrylic and collage on wood panel, 24 x 24 inches

Combining both abstraction and realism, I was honored to showcase my artwork, Where Memories Blur, A New Consciousness Begins. The painting reflects a transitional period of tranquility, representing the realization that the past no longer defines you and the process of breaking away from recurring cognitive patterns. It serves as a celebration of rebirth, inner healing, and personal transformation. The work explores the emergence from a former version of oneself that was once clouded by hindering thoughts into someone new, guided by greater clarity, self-awareness, and growth.

Although I only highlighted a few, all of the artists and their artworks made meaningful contributions to my exhibition through the selection process. Rather than focusing on selecting specific works, my curatorial process centered on thoughtfully arranging the pieces to create connections and conversations between the artists. Through the layout, I considered elements such as color, texture, similar meanings, and the ways each artwork could speak to one another through figures, shapes, and movement. I also focused on creating balance between more defined works that complement ones more abstract during transitional periods. Throughout the process, I was mindful of how the viewer’s eyes would move through the exhibition and how each artwork could be experienced from beginning to end.

Left: McCain McMurray, M52, Acrylic on cradle board, 24 x 8 x 1.5 inches; Right: Makda Kibour, Titk: the Three of us again, Acrylic, paper, and fabric on canvas, 30 x 40 inches 

Hearing the artists share their stories taught me that many different aspects of life contribute to our growth and progression. Reaching what we think is our full potential is not a final destination but an ongoing journey. Evolving as human beings means constantly learning about ourselves and one another. Our consciousness is always driven by curiosity, searching for what we believe is best for ourselves. I want viewers to take away from this exhibition that they are greater than their limitations and that the little moments we often overlook are a significant part of discovering who we are. I hope that, as you move through the exhibition, you find a piece of yourself within these stories, and recognize that there are no right or wrong answers to the choices we make.

As I bid my internship farewell, I can leave saying that my time at Touchstone was a valuable experience. From gaining a deeper appreciation for the importance of providing artists with a platform and understanding their creative processes; to recognizing connections between artists and the themes expressed through their artwork; and understanding Touchstone Gallery’s role within the local art community. All crucial moments that helped me become a better artist and supporter of the arts as well. 

Curating The Lives We Never Lived was the highlight of my internship and gave me the opportunity to bring artists together through a shared theme. If you would like to experience the exhibition, it will be on view through August 16.

Art vs. Craft Today

By Skylar Ogunshakin and Lizzie Brister, Touchstone Interns

For centuries, people have debated where the line between art and craft should be drawn: Does the material determine whether a piece is art or craft? Is it determined by purpose or intention? Does the line even exist at all?  This summer, we set out to learn more about this debate, exploring the differences between art and craft and how modern artists are blurring the boundaries between both.  To delve further into this topic, we interviewed several modern artists and viewed their work to see how they incorporate and define art vs. craft.  

In an interview, Touchstone artist Janathel Shaw shared her perspective on this discussion and the role of her work within it. Shaw is a ceramic sculptor who focuses on social and political issues. Her work explores different aspects and generations of the Black community, addressing racism and social norms in American society. Black American history is not as far removed from the present as it may seem, since many of these issues persist today. From immigration and Jim Crow laws to racial violence and lynching, there is often less difference between the past and present. As a Black mother and educator, Shaw tells the story of children of color and the question of their futures, the absence and struggles of Black men, and Black women having to take on those roles as nurturers and strong providers. 

Janathel Shaw, Looking Beyond the Veil, ceramic stoneware with underglaze, overglaze, and mixed media, 19 × 8 × 7 in.

“I don’t consider my work a craft,” Shaw says straightforwardly. She explains that pottery is more commonly viewed as a craft, whereas her own practice in ceramics is positioned within fine art. Because people often don’t associate clay with fine art, when she first began working with it, she had to challenge that perception and prove it could be a higher art form. She also likes the way clay is easy to manipulate: “I get to get messy with it, I get to pull it, I get to abuse it…to get the image I want to see.” Shaw explains that when she thinks of craft, she associates it with traditions that are both community- and family-oriented, such as fiber arts like crochet and knitting, woodclipping, and the overall function of the piece. She reflects on her upbringing in a Black household, recalling everyday handmade objects like quilts on the sofa, dolls dressed in gowns with tissue paper underneath, and statues of Black figures that were not meant to be touched. For her, craft is often less about emotional expression and more about appreciating the time, effort, and technique involved in the making process. 

Also, she notes that craft can be defined by recognizing how the work was constructed, and that it often aims to preserve knowledge of these sometimes “lost” practices when makers are no longer present. However, she suggests that when a piece moves beyond function into conceptual meaning and intentional aesthetic design, it begins to shift into the realm of fine art.

So, if functional vs. aesthetic design is what separates art from craft, what does it mean if a work leans into both? This question can be answered by looking at the work of David Gootnick, one of the 50 local Washington, D.C. artists featured in Touchstone Gallery’s 50 for 50 exhibition. Through intricate geometric shapes and patterns, Gootnick creates designs inspired by the Japanese woodworking tradition of  Kumiko.

David Gootnick, Triptych #3, 2023, mixed media (wood, washi paper), 14 × 32 in.

Kumiko is a hand-tool technique that involves assembling small wooden pieces without the use of nails or glue. The practice was introduced to Japan from mainland Asia during the Asuka period (538–710 C.E.)  

Gootnick originally studied woodworking in high school and later at the College of Art and Design in Rochester, New York. He eventually discovered Kumiko and became deeply fascinated by it. The first pieces he created early in his career were decorative panels for cabinetry. His work blends traditional Japanese practices using geometric patterns such as hexagons and triangles with contemporary design elements. He uses redheart or Osage wood for color contrast and places the design on colored cloth to make his work visually appealing.

His process involves using a long Japanese knife to cut Alaskan Yellow Cedar at an angle, creating interlocking forms. The process requires precision and accuracy as the smallest variation can affect how the entire structure comes together. Throughout his works, he reflects themes of peace, harmony, and symmetry, putting viewers in a contemplative state.  Although his work takes on an ancient art form, Gootnick adds his own twist by incorporating rosettes and lanterns.  His work leans into both art and craft, as he carefully creates pieces that are both functional and decorative. Gootnick simultaneously creates functional pieces that highlight Japanese architecture and woodworking skills, while also designing pieces meant to play with shape, light, and shadow to create a vivid visual experience.

Lori Katz, Deconstruction, stoneware with slips and black ceramic stains, dimensions variable

Also featured in the 50 for 50 exhibition is mixed media artist Lori Katz, who pushes the boundaries and expectations of clay. She brings meaning to her work through simplicity and strength, using surface, texture, color, and form to create contrast throughout her pieces. Katz developed a fixation with clay at a young age, and the medium later became solidified within her art career. Her work often includes materials such as acrylic paint, oil paint, metal leaf, cold wax, high temperature wire, recycled cin parts, and occasional objects. She develops relationships between rectangles, lines, and circles, establishing a sense of balance and harmony within a space. For Lori, the process of creating art is about the connection and experience people have with her work, whether it offers a sense of calm, becomes part of their homes and lives, or speaks to them on a personal level.

The meaning of art and craft can also be uncovered through artwork at the Renwick Gallery, an instiution focused on craft. In their current exhibition, The State Fairs: Growing American Craft features works from state fairs across the U.S. and explores how craft is used to highlight the traditions, stories, and struggles of the artists. 

One piece that stood out was Butter Carton Dress Worn By Princess Kay of the Milky Way. Like most crafts, the dress serves a literal function. Made from 475 square-cornered squares cut from one-pound butter cartons, the dress was created by Wilma Ryan, the mother of Howard T. Ryan, the public relations director for the American Dairy Association of Minnesota. Ryan had the idea to create the dress to promote Minnesota creameries. The dress served both a functional purpose, as it was worn by Mary Ann Titrud, the 1965 Minnesota State Fair dairy princess, but it also serves as a symbol for local culture as it connects back to rural farm life and Minnesota State Fair traditions 

Sarah Pratt, Hannah Pratt, Grace Pratt, Curious Regard, 2025

Wilma Ryan and Mary Ann Titrud, Butter carton dress worn by Princess Kay of the Milky Way, Mary Ann Titrud, 1955-1956

Similarly, Curious Regard, a life-size cow made entirely of butter, also captures this essence of tradition. Butter art has been a long-standing fair staple, and the creator of  Curious Regard, Sarah Pratt, actually trained under another famous butter sculptor, Norma “Duffy” Lyon, demonstrating how the skill is passed down from generation to generation. Curious Regard reconsiders the boundary between art and craft, since the work is not intended for functional use; rather, it serves as a representative of the history of the practice and fair culture. Pratt, who created this work with her twin daughters Hannah and Grace Pratt, sculpts the butter cows for the Illinois State Fair and Kansas State Fair. Her work proves how much skill goes into craft, and how that skill is backed by long-held rituals and heritage. 

With all this in mind, we return to our main focus: what distinguishes art from craft? From what we’ve seen, it seems that art and craft are not merely distinguished by material. It is up to the artist on how they chose the intention and interpretation of  their work. While many clay, quilt, or woodworking pieces serve utilitarian purposes, they often also serve conceptual ones. Like Shaw’s work, they can explore social justice issues. Like Gootnick’s work, they can serve aesthetic design purposes. Like Katz’s work, they can demonstrate how material and form can be used to create contrast and meaning, or like the work in Renwick, they can serve symbolic purposes by representing traditions and culture. 

The value of work is not determined by whether it fits into one category or another, but by the skill, context, and the idea it communicates.  Just because a work isn’t a traditional oil painting doesn’t mean that it lacks all emotional expression, and it’s important to see that labels like “art” and “craft” don't define a work’s beauty, purpose, and intention. Instead, it suggests that artistic work should not be limited by what it could be, and that the creative process often overlaps.

• State Fairs: Growing American Craft at the Smithsonian Renwick Gallery, on view through September 7, 2026.

• Janathel Shaw’s work, on view regularly at Touchstone Gallery 

• Lori Katz’s work in the 50 for 50 Visual Artist Spotlight exhibition, on view through June 23 and regularly in her Torpedo Factory Art Center studio. 

Remembering Michael A. Lang

by Julia Canora

Michael A. Lang (Mike) was a devoted, passionate, and talented photographer. He took his first photographs at the age of 14 on a Leica IIIc, which he received for his birthday that year.  Over the years he developed his craft and has left behind his legacy. Touchstone Gallery is proud to have displayed his art since April 1, 1999. Today, on Mike Lang Day, we hope to convey how meaningful and inspiring Mike’s presence was at the gallery, and to celebrate his life and memories through his artistry.

Mike Lang in solo exhibition, Slow Walking, in 2019

Lena Backstage, Photograph, THE DRAG ILLUSION series, 2012.

On June 25, 1942, Mike was born in the Bronx in New York City. His family later moved to Baltimore, Maryland, where he was raised. When he was 7 years old, he contracted polio, just 5 years before the vaccine. Shortly after being diagnosed, Mike became the poster child for polio fundraising initiatives on WBAL radio. They used the slogan “For the Love of Mike.” Because of polio he lost the usage of his right leg as a child. Mike didn’t let his condition stop him from seeing the world and pursuing his art though; he got around fine with leg braces and crutches. If anything, he let his disability inform his art and his character and sought inspiration from it.

Photograph from A Nice Clean Room, 1957, by Michael A. Lang

In 1957, when he was 15, Mike developed his first photo series, titled A Nice Clean Room. Using only available light, the series depicted men playing pool at a bar colloquially known as Benny’s up in Baltimore. He displayed those for the first time at Touchstone Gallery in 2000, his first exhibition. The show was reviewed brilliantly from local art critics. The Washington Post called it “miraculous,” and the Baltimore Sun stated he’d captured the atmosphere “with sublime results of the quotidian ballet of people going about their business and amusement.”

In later exhibitions, Mike captured often underrepresented groups of people, such as Hill tribes of Northern Thailand, drag queens and queer communities in DC, and communities in rural Mississippi. His photography is natural. It depicts life in comfort, it makes the viewer feel as though they stand next to Mike as he took the picture. The people in the photos don’t appear documented, or observed, as is often the case in photography. He depicted life as it was, as it is, as it should be.

Mike exhibited a show at Touchstone in 2015 titled Slow Walking in NY. It photographed life through his eyes as a disabled person. By this point, he had lost the usage of his left leg, leaving him paralyzed from the waist down. In this exhibition, he showed the viewer life in his shoes, literally.

In addition to those exhibitions, Mike had several others during his time at Touchstone, including The Silent Observer, The Hill Tribe People of Northern Thailand, Farrish Street, Be There (his first show featuring color photography), THE DRAG ILLUSION, and Slow Walking – 2019, among other collections featured on his website. He was also a founding member, donor, and active participant of the Touchstone Foundation of the Arts. 

Bryant Park Newsstand, photograph, Slow Walking in NY series, 2015, by Michael A. Lang

Beyond photography, Mike loved reading classic novels, jazz, and science. He put himself through college at Loyola University Maryland and later earned a Ph.D. in biophysics from the University of Maryland. He worked as a researcher at Harvard University Medical School, spent some time at Boston University as an Associate Professor, and eventually went on to the National Institute of Health (NIH) for more than 30 years.

On February 9, 2026, Mike tragically passed away from a short battle with pancreatic cancer. He lived a life filled with art, culture, science, and love. Through Mike’s photography, community building, and artistic legacy, his contributions live on.

To make a donation in memory of Mike Lang to the Touchstone Foundation of the Arts, click here.

Serendipity by Tory Cowles and Resilencia by Rosa Inés Vera: Two Solo Shows on view through January 11, 2026.

This Touchstone Blog article is written by Touchstone’s current Bloomberg Arts Interns” Charlene, Kai, and Mahogany. These DC high school seniors interviewed both Tory Cowles and Rosa Inés Vera about their work to write the piece.

Tory Cowles solo exhibition Serendipity: A Dance between Painting and Sculpture combines sculpture, painting, and hybrid sculptural works created from paintings. Tory attended college as a sociology major, but with her college’s diverse curriculum requirements, she was placed in a drawing class where she began working with pastels and discovered her love for art. When asked about her artistic practice, Cowles explained that she doesn't necessarily have a routine when it comes to starting an artwork. When creating a new work, she starts by collecting found objects and scraps, combining them to make something bigger. She also uses thrift stores as a place to source fabrics made of various materials and with different patterns.

Tory’s solo show focuses on abstract art and sculptures. She enjoys evoking reactions from viewers with her artwork and aims for the audience to focus on the piece to discover what it means to them. Tory prefers to use numbers instead of words as titles for her pieces. She does this to ensure that the audience’s opinions of and experiences with her art remain independent of her as the artist. 

One of Tory’s greatest inspirations is the American artist, Robert Rauschenberg. An experience she had viewing his combines broadened her horizons and drove her to expand her practice by incorporating 3D elements. 

Rosa Ines Vera’s solo show, Resilencia, focuses on the communities impoverished women in Latin America create when faced with adversity. Her paintings aim to show the resilience of these Latin American women as they live their lives. In an interview, Rosa answered a few questions in regard to her as an artist and her process. 

Rosa began her art career at 40, taking night classes for her birthday. Rosa mentioned that she would have started earlier had she realized her love for art sooner. If given the chance, she would also tell her younger self to take initiative and find information on different grants, residency, and other opportunities. She also mentions how some of her greatest weaknesses are procrastinating and being too analytical of her work. In three words, Rosa would describe her art as colorful, thoughtful, and full of patterns.

When starting a piece, she begins with an underpainting and builds on it by using strong colors on stencil and tracing paper. Rosa mentioned that when it comes to painting she uses acrylics more often than oil, not because she doesn’t like oil, but because acrylics have a sort of richness to them that she enjoys. A medium of art Rosa recently tried is encaustic—a form of painting that involves a heated wax medium. Encaustic has a high barrier to entry, requiring lots of equipment and prior knowledge to start, including real natural fibre brushes, a grill to heat the wax, wooden boards, and more. She recommends finding a friend or art studio that has the materials necessary to use encaustics effectively.

Rosa admires the work of her fellow Touchstone artists, specifically Linda Bankerd and Lesley Clarke. Her biggest artistic challenge was her first solo show. She mentioned how hard it was for her to navigate discussions, purchases, etc. When asked if she is excited for her December show, Rosa responded with a resounding “Yes!” Her favorite piece in the show is Las Comadres #4.

Touchstone Gallery Artists Featured in Women Artists of the DMV Survey Exhibition

By Molly McPhillips, Touchstone Intern

Carolyn Marshall Wright dropping off her piece My Grandmother’s Bowl to curator Lenny Campello

The art scene in D.C is full of national museums displaying works that appear on art curriculums around the world. In all of this historical and culturally significant art, DC is missing a large piece of the art world from its very own community. The lack of artists from the city within these museums and institutions is a problem that has gained more attention in the last decade. Lenny Campello, the curator of the Women Artists of the DMV show, has called again and again for more representation of the brilliant artists of the area to be showcased in museums or limited time exhibits. When no one seemed to be making a change, he decided to do it himself.

In 16 locations across the DMV over 400 women are being given the chance to display their art, including Touchstone artists Veronica Barker-Barzel, Sue Canuteson, Janathel Shaw, Anne Stine, Rosa Vera, Gale Wallar, and Carolyn Marshall Wright. All of them have approached the show with their unique styles and goals, showing how diverse even such a small selection of this exhibit is.

Las Comadres IV by Rosa Vera

Fleur de Sologne and Others by Gale Wallar

Vera’s work is an example of leaning more into the feminine element of the show and her own Latin background—a piece that brings light to the problem of feminicide all around the world, but especially within the Latin community. She will focus on this topic in her upcoming solo exhibition, Resiliencia, at Touchstone Gallery (December 11, 2025 - January 11, 2026).

Some of the artists have gone in an opposite direction, showing off their interests as a creator. Canuteson’s Patterns at Play is much more lighthearted and when asked what she would like viewers to get out of it Canuteson says “maybe just a smile and the desire to look closer at how the work was made.”

Wright has submitted a still life of a bowl, called My Grandmother’s Bowl, bringing lots of ties to her fond family memories, hoping to create the beginning of a story with her art.

The scope of this show is huge, as seen in the comparisons above. In the art community there is still a disparity between artists who are men and those who are not, which is no secret. In putting this show together Campello decided to take that extra step and highlight all the women artist talent that does not get the attention it should. Through this show he hopes that major institutions like the Smithsonian may begin to take local artists into their spaces more and help promote artists from their own community. This show has already gained a large amount of publicity, as well as the attention of some politicians in the city, which Campello has used to be able to open up discussions about DMV arts.

Patterns at Play by Sue Canuteson

Grief for Philando (Castille) by Janathel Shaw

When asking the Touchstone artists to explain the process of being a part of a show like this, they all commented on how easy it was. Allowing this show to be accessible for artists is certainly a large part as to how it has grown to the mega-show that it has become. Wright noted to me how easy the process was, saying she just had to reach out to Campello, and he provided some size requirements, having no lengthy interview process that can often be attached to these shows. With so many locations across the DMV Campello is also bringing contemporary art shows out to people who do not normally have access to this, not living in D.C.

Women Artists of the DMV is on view at various locations, some until January of 2026. The artists participating bring pieces of themselves within the art and create a sense of personability and community within these art spaces, inviting people to recognize what the region has to offer. The Touchstone artists included in the exhibition are a part of something much larger than a show—they are part of a journey to bring local arts to the spotlight and create a larger focus on the art created by women.

Find Touchstone artists in the following shows and locations:

Rosa Vera - Montpelier Art Center until Nov. 3

Veronica Barker-Barzel - Artists & Makers Studio until Oct. 29

Carolyn Wright - ACM Gallery at Children’s National Hospital until Jan. 9

Sue Canuteson – McLean Projects for the Arts until Nov. 1

Anne Stine – Melissa Ichiuji Studio Gallery until Dec. 7

Janathel Shaw – Pyramid Atlantic Arts Center until Nov. 2

Gale Wallar – Pyramid Atlantic Arts Center until Nov. 2

New Artist Spotlight: Jonathan Fuentes

by Taylor Freeman and London Wright, Bloomberg Arts Interns and Seniors at Duke Ellington School of the Arts

Jonathan Fuentes has always been drawn to the natural world. His fascination with animals easily found its way into his artwork, where the animal representations became stand-ins for people. Exaggerating these human characteristics through animal imagery gives his work a playful and insightful quality.

His journey into college as a primary medium began somewhat unexpectedly: while taking a printmaking class, he was drawn to the freedom of assembling pieces from scraps rather than following rigid techniques. His background in design also strongly influences his work. A graduate of the University of the District of Columbia, Fuentes credits the support and encouragement from the faculty played a crucial role in his development as an artist—helping develop his technique and work to find and secure opportunities.

Fuentes’ process often starts with cutting out interesting shapes from magazines and arranging them intuitively until a concept emerges. Only then does he begin gluing—letting the composition and tone evolve organically. Working primarily on a base of cardboard (canvas has always felt restrictive to him), Fuentes prefers to use common and easily obtainable materials such as gift wraps, bags, and shiny tape. Lately, he has been incorporating papier-mâché alongside cardboard to create versatile 3D sculptures. He even wore a sculptural hat he made to the opening reception of the New Artist Spotlight!

Looking ahead, his goals are clear. He wants to exhibit in more galleries, create larger work, and increase his connections with collectors. Fuentes remains committed to exploring new methods, breaking boundaries, and maintaining the playful essence that defines his work.

New Artist Spotlight: Sue Canuteson

by Taylor Freeman and London Wright, Bloomberg Arts Interns and Seniors at Duke Ellington School of the Arts

Sue Canuteson doesn’t plan her paintings. She lets them unfold naturally, using a call-and-response approach as she layers warm, earthy-toned brushstrokes with a wet-on-wet technique. Her work often utilizes the same color palette—prioritizing line and shape. Inspired by the mark-making and patterns found in African art, she is drawn to its coloration, style, and overall feeling. In her own work, she aims to obliterate all literal elements; encouraging viewers to experience the work freely. 

Canuteson has always loved art and art history, but she initially pursued a career in marketing and communications. Even then, she found herself drawn to the visual side of things; she became well-versed in typography, layouts, and the use of negative space. After a successful career—including nearly a decade as the editor of a clinical publication—she retired in 2015, giving her the opportunity to fully explore her creative side.

She started with collage, painting her own papers for mixed-media compositions. In 2016, while training to be a museum docent, Canuteson stumbled across a YouTube video of an abstract artist making bold, gestural marks on a canvas. To her surprise, she started crying—a reaction she didn’t fully understand at the time. It wasn’t until she began painting herself that she realized what had happened. Her subconscious had needed this form of expression all along.

By 2018, she took her first painting class, marking the true beginning of her artistic journey. Since then, she has refined her practice, while keeping her process deeply intuitive.

One of Canuteson’s favorite aspects of being an artist is watching visitors stop, linger, and become puzzled with her pieces. She believes that people often try too hard to analyze abstract art when, in reality, it doesn’t need to be explained. “The great thing about abstraction,” she says, “is that it doesn't need to be understood in a literal sense. It’s about feeling.” For her, art is an emotional experience rather than something that must be interpreted in a specific way.

As she moves forward, her goal is to allow more of the unknown to come through in her paintings. She wants to push past her natural inclination toward structure and embrace spontaneity, letting the work evolve organically. Canuteson’s advice to other emerging artists is to “Continue to do what resonates with you and evolve that way.”

New Artist Spotlight: Jazz Williams

Jazz Williams is a fine arts trained mixed media artist specializing in portraiture and fiber. Williams creates Afro-Fantasy paintings using dyed fabric, oil paints, and elements of collage. She creates fantastic compositions in natural settings, incorporating her own mythology to portray the many experiences of Black women and femmes navigating the world.

In the following interview she speaks about her art and process with Touchstone intern Charmaine Mapp (a senior at George Mason University).

Charmaine Mapp: You use a lot of natural elements in your work from incorporating plants and animals to using fabrics and dyes. How would you describe your relationship with nature?

Jazz Williams: As far as my relationship with nature is concerned, it’s probably not as well acquainted as some would expect. I do have a real love for nature as an aesthetic but when it comes to feeling connected to nature, I mainly use nature for a sense of place. Within my work, I use plants and animals from the East Coast, mainly the DMV, but sometimes all the way down to Florida because that’s another homebase of mine. [Nature] is something I use to feel grounded. I was really drawn to media and TV shows that use the concept of being “lost in the woods” as a premise. Coming-of-age always comes with a sense of feeling lost.

CM: What initially drew you to using fabric as your primary media?

JW: It was introduced to me through my art schooling. I’ve been in art school since middle school, so as I get older, I am getting more of a fine arts standpoint when it comes to work. I took up fibers because I wanted to try something new. I realized that I had so much experience under my belt in drawing and painting that I needed to put something else into [my art] to make it feel real. I started using fibers and dying things because MICA (Maryland Institute College of Art) has an amazing fibers program that goes in all different directions. I was really drawn to dying fabrics and it made me start thinking about the actual material I was using to dye. I figured once I started buying lightweight canvas and processing it in different ways, I could change my way of image making and make my painting process something a lot deeper. The fun actually starts when I get to dying canvases and at some point, I figure out what I want to put on top [of it]. [Using fibers] is just something I do to break up the monotony of painting. It’s a good way to let loose and not feel so controlled by my medium.

CM: Animals and women are recurring subjects in your artwork. How do you decide what animal best suits the story you are trying to tell?

JW: I’ve always had this invisible narrative within my work where its Black women or Black femmes that are lost in the wilderness, finding their way out, or figuring out ways of survival, but not in such a literal sense. I’m drawn to the idea of coming-of-age and learning a lesson within yourself. That’s a deep spiritual image to make and there are a lot of different directions you can go with that. I start by using different poses and contexts then try to figure out what animal captures that moment well.

CM: Do you use in-person models as reference for your portraiture?

JW: I use reference photos. I really love archives, looking at older types of media, especially photography and drawing poses from them. I am also drawn to Black photography, more so photography in pop culture, like things we see from celebrities. Images that evoke some sort of sensationalism. I’m really drawn to those sparkly, beautiful images and how provocative those images could be. I have a folder in my phone with photos spanning from the 1950s or 1960s, images of newspaper clippings or even an old picture of Destiny’s Child. I never use the faces because I don’t want that person to be associated with the actual message of the portrait. I don’t want to use people so literally. I want [my work] to be more relatable.

CM: In “Rot and Refuge (River Run-Off)” there are many visible elements of collage. Could you tell me more about this piece?

JW: I was getting experimental with that collage. When I started working in fibers, I had made my first dyed canvas piece and then I started thinking about how I could use fabric as a means of image and collage. I was looking for nontraditional ways of creating a canvas. That piece was built out of nine squares of colored cardstock that I collaged over with different sets of papers until it made some weird environment. I was really thinking about that Black coming-of-age. [In 2023] I was looking through old newspapers from 2020. It was a turbulent time, such an insincere time that came with a feeling of unrest. So, I had those images in the background for a reason. I made sure that they were something [the figure] was trying to look away from. You don’t always have to pay attention to all of the unrest in the world and think about how hard it is to survive, but rather just try to figure things out for yourself. That’s why it’s called River Run-Off, she (the figure) is running off to the river instead of having to deal with the rot and refuge of the world.

CM: Although your work is very stylistically realistic, there is a fantastical component to their compositions. Do you draw on any mythology to create your narratives?

JW: Yes, to a degree. Every animal and subculture, especially in nature, has its own stories. I was thinking about those kinds of narratives, but in terms of actual mythology, I feel like I create my own. I’m using animals that people would see on a daily basis but using whatever they symbolize as a story within the piece. I like to create my own narrative, my own kind of mythology.

CM: Is there a political element to the way you depict women in your art, perhaps making commentary on the objectification of Black women or portraying a reclamation of female sexuality as a form of empowerment?

JW: I would say a mix of yes and no. I’ve always liked provocative poses and clothing, but I was mainly focused on decentering the political element of Black portraiture. I felt like every time I made a painting it had to be a profound [statement on identity], but I wasn’t trying to do that. I just wanted to paint and make it so that we had these interesting, glamorous and over the top portraits of Black femmes. At some point [politics] became more of a conversation. I always talk about Mickalene Thomas because her work speaks volumes, painting Black femmes in a crazy, beautiful, and almost abstract light. I want [my work] to be an homage to the beauty standard and the vibe people get when they see and admire Black women versus the monolith that could be Black culture. Everything I use is a call back to what I’m seeing in the media. So that’s where my portraying of women comes from but “Whether or not it’s political?” “Yes and no.” Naturally, yes [my art] comes with that political statement but I wasn’t going for that initially.

CM: Are you interested in exploring anything new in terms of creating a different narrative?

JW: I have been driving myself more towards sisterhood and a sense of community. I usually portray a single figure. She’s in a strong pose or bonding with an animal but it seems so singular. I didn’t like the idea that being a Black woman meant being alone, though at some points [it does]. At some point I started thinking about what it means for the Black femme experience to be enjoyable, something that everyone can relate to. That sense of community, friendship, and love is something that I cherish in my life. More recently, there has been a shift in my work with joyful depictions of a Black femme or more than one.

CM: How would you define your art in a word or phrase?

JW: Fantastical. That’s what I try to go for. Something that is larger than life in more ways than one and tells a weird, folkloric story about the Black femme experience.

New Artist Spotlight: Yoshiko Ratliff

by Jasmine Hall, UMD Senior and Touchstone Intern

In Yoshiko Ratliff’s artwork, there exists both culture and beauty.

In her two styles, which she works on simultaneously, Ratliff explores themes of culture and nature. The first, centered around her experience being born and raised in Japan, is inspired by traditional Japanese textiles and figures. Frequently depicted are kimonos, armor, and floral patterns often associated with Japanese dress.

One work, entitled, Shōgun, is an incredibly detailed piece, with complex patterns and designs covering the figure from head to toe. These works are acrylic paint on wood panels, regularly accompanied by details of 24 karat gold leaf to add to the dimension of luxury within the image.

However, the beauty of this work wasn’t attained with ease. As hinted by the amount of fine lines and intricacies, the paintings from the Japan series are incredibly time consuming. Ratliff describes Shōgun as potentially the most difficult work she’s created. This challenge seems well worth it, as the detail was so convincing to viewers that audiences didn’t believe it was paint.

“They said ‘No, it’s mixed media. You’re using fabric!’” Ratliff remembers. “It was difficult—took a long time.”

The second of her two approaches acts as a break from this consuming level of detail, often consisting of natural subjects that are more abstract and out of scale. It’s this time away from complex, textile-inspired detail that enables Ratliff to have more freedom and to explore her interests.

“I have an obsession with microphotography,” Ratliff confesses. “Especially crystals, frost, ice, and snowflakes.” These unique textures found within up-close nature photography greatly inspire Ratliff’s work, finding its way into her work throughout its various layers and stages. “I often use these shapes and patterns for underpaintings,” she says. “Or as part of the final painting.” Ratliff uses her art to fondly reflect on her background, while also allowing it to act as a distraction.

During the pandemic, Ratliff’s mother tragically passed away from illness. Due to restrictions at the time, Ratliff was unable to see her in the hospital, undoubtedly adding to the difficulty of this loss. Her floral series works to commemorate her mother’s memory, bringing beauty to a painful subject. Sunflowers were her mother’s favorite. The bright, vibrant colors of the flowers she paints add joy to an otherwise dark time of lockdown.In 2021, in the midst of working on her floral series, Ratliff noticed the seemingly endless number of cicadas on the sidewalks, their transparent wings visible amongst the crowd of insect bodies.

“They were beautiful,” she reflects. After washing and drying these found cicada wings, Ratliff incorporated them into her artwork. “I used those wings on bees and dragonflies for my floral paintings…I have to honor their short lives.” One of her primary goals in her artistic creation is to help other people through paintings. If seeing her work is able to help someone forget their difficult situation, even for just a moment, Ratfliff would be very happy.

“I believe that art is therapy,” she states. For Ratliff, art is her way of forgetting her hardships. By allowing her to commemorate her mother and highlighting the beauty of her culture, painting gives Ratliff freedom.

New Artist Spotlight: Carolyn Marshall Wright

by Jasmine Hall, UMD Senior and Touchstone Intern

Carolyn Marshall Wright’s art is nothing if not brightly expressive. Her various styles, seen through watercolor and acrylic paint, strike the tenuous balance between realism and abstraction.

“If it’s too easy, I’m not content,” Wright states. She’s determined to challenge herself in her process, adding shapes and marks to make a piece more complex. Despite her high level of skill with realism in both still life and landscapes, Wright pushes herself to see things more geometrically. By using visible brushstrokes and angular forms, often with a highly saturated color palette, Wright transmits her emotions and unique perceptions of what she sees. In doing so, she challenges both herself and the viewer into looking at commonplace objects with a different lens.

“I love to watch the way light hits things,” Wright says. “It’s inspiring to see the difference that it makes and I like to bring that in.” Wright’s painting style relies heavily on her intuition, allowing instinct to decide when to be controlled and when to be more spontaneous with her brushwork. She believes strongly in the need for artists to create art that flows for them, finding direction from what brings them joy.

Wright recounts her experience seeing Pablo Picasso's religious paintings in Barcelona, noting how different his early works of exemplary realism felt in comparison to his famed cubism pieces. “You can tell there’s an emptiness there,” she says of Picasso’s early religious work. “Where did his real masterpieces come [from]? When he broke out of all of that.” Art has always been an important part of Wright’s identity.

As the fifth of six kids, she felt a need to find her own path instead of following in her siblings’ footsteps. Two of her older siblings were already in pursuit of artistic careers, which, in Wright’s mind, made it off limits. However, the love for creating stuck with her, finally taking root when she committed herself to making an original watercolor painting for her home. After numerous art studio classes and hours upon hours of committing to her craft, Wright secured her place as a watercolorist.

Now based in McLean, Virginia, she is a Signature Member of the Virginia Watercolor Society and a past president of Potomac Valley Watercolorists. Wright has also been teaching art for the past 15 years.

Wright maintains a balance of creating art with a clear image and pieces without a detectable subject. Her landscapes combine approaches to the abstract expressionist movement, using elements seen in works by Mark Rothko and Richard Diebenkorn. Her still lifes, more clear in their content, don’t limit themselves to the bounds of reality.“The impact of other artists is really important in terms of my inspiration,” Wright admits.

There is currently a new exhibition on the horizon for Wright. She’s in the process of preparing an entire collection of still lifes in her style of expressive, gestural abstraction. This series continues her focus on mundane objects basking in strong natural lighting.

“I’m paying a lot of attention to my own window sills, the plants on the window sills, and the way the light is.” It’s this level of attention, observation with added elements of visual intrigue, that make Wright’s paintings so captivating. Wright shares how excited she is to be a part of Touchstone Gallery, anticipating the joy of the gallery’s community and its positive impact on her art career.

New Artist Spotlight: Deb Furey

by Jasmine Hall, UMD Senior and Touchstone Intern

For Deb Furey, conversation is a requirement for the painting process.

“It’s really important that the work speaks back to me–somewhat of an interplay–back and forth–when I am working,” she states.

Furey, a mixed media painter, strikes a balance of realism and abstraction, as seen in her two concurrent styles. The first utilizes photography and collage with a combination paint media, while the second consists of large-scale, high contrast charcoal drawings of characters presenting various symbols of life and time. There is a spontaneity to Furey’s work, with many of her paintings being made in a short amount of time, without much pressure for realism. In Furey’s experience, focusing on hyperrealism often reduces the excitement and creativity for her.

“I am keenly interested in juxtaposing images, patterns–real-world and imaginary–to evoke emotions and moments in time,” she notes. “I also try very hard to listen to my own voice and not edit based on external expectations.”

Reaching this level of self-understanding in her process was not a short journey. Furey began her career as an artist at a young age. Once she displayed interest in painting and drawing, her mother put her in art lessons, enabling her to be in art shows and sell her first painting. Through many moves in high school, Furey found herself in Connecticut during her Junior year, studying under a local artist. This led to a residency that summer, which guided Furey to pursue art school for college.

After getting into prestigious art schools such as RISD and Pratt, Furey settled on Massachusetts College of Art and Design. For her two years at Mass Art, Furey studied interrelated media, which included video, sound, and other digital media tools. “Somewhere, in the midst of all that, I realized I needed to learn more about life and other educational pursuits before I had a point of view–a sense of what I wanted to say in my art,” she says.

This revelation led Furey to put her traditional artistic education on hold to develop a career in software development and animation. Furey began painting again in her late twenties, thoughdue to work and raising kids, she didn’t get involved in the gallery space until recently. Now, she’s driven to keep her art production steady.

“I paint a few days a week pretty consistently.” Furey states that sharing her artwork only adds to the enjoyment of painting. “I like to show it and I like to get people’s reaction.”

These audience reactions further contribute to the meaning of Furey’s work, with her semi-abstract characters only becoming more impactful with new interpretations placed upon them. Furey’s work incorporates cardboard, oil paint, and collage to create expressive scenes filled with dynamic figures. These bodies, often faceless and purposefully androgynous, allow for the freedom of Furey’s artistic process. It also makes much of her compositions open to interpretation, due to their lack of specificity.

“It’s a mirror in a way,” Furey states. “And if they work well, the pieces are evoking something in themselves.”

There is a power to this lack of gender in her figures. It’s an intentional disregard for binaries of gender, as well as binaries of time. These characters are dressed in clothing of a different historical period, many of them wearing crowns, ruffle collars, and holding scepters. There are no labels or boundaries to her figures, which adds to Furey’s artistic exploration. “I’m really interested in humans as humans and not girls and boys.”

Both of Furey’s styles, despite their differences, remain tied together in their spontaneous approach and how they act as a study of humanity. Furey only continues to expand on her existing work, aiming to create bigger and better visual experiences and depictions of her unusual ideas. It’s this spontaneity in life and in her practice that enables Furey to create the evocative artwork that engages her viewers.

New Artist Spotlight: Brittany Mona'

Brittany Moná is a DC-born and Maryland-based abstract mixed media artist.  They draw inspiration from familial experiences, African ancestry, and graffiti artists. Moná incorporates traditional African motifs and objects unique to African American culture into their art to create representation for the Black community.

In the following interview she speaks about her art and process with Touchstone intern Charmaine Mapp (a senior at George Mason University).

Charmaine Mapp: As a self-taught artist, what drew you toward pursuing art? How did you develop your style?

Brittany Mona: I’ve always been interested in the arts. My first love was and is theater and poetry. During the pandemic, my friend was cleaning out their house and offered me some art supplies which I took out of curiosity and started using it as an outlet. I was never interested in pursuing art as a career, I was just playing with abstract styles. My inspiration has always been traditional African art and graffiti. One of my youth mentors had expressed interest in my art and through her, my work was included in an exhibit. It was more like art found me. A lot of Black women and community uplifted me and encouraged me; they saw me when I didn’t see myself, and I held onto that.

CM: You have spent years working closely with children teaching them about art and experiencing first-hand the power of unrestricted imagination. What aspects of your art are inspired by what kids have taught you about yourself?

BM: I taught during the pandemic and stopped teaching in 2022 when I decided to pursue art. I was a Pre-K 3 teacher for about eight or nine years, and it was a great time. I learned a lot from them about just being myself. [Kids] are very much open to learning things which I appreciate. The openness they have to learn and receive, to challenge and question was probably my greatest lesson working with them.

CM: On your website, you have a quote, “Art doesn’t have to look a specific way; it just has to be created.” Is this philosophy part of the reason you were drawn to abstraction?

BM: When I first started there was a little bit of imposter syndrome. I just needed a reminder that starting somewhere is better than not starting at all. Although I was terrified of being vulnerable, I just needed to create because [my art] won’t transform, it won’t expand, it won’t change, it won’t grow if I don’t do it at all.

CM: Multiplicity of meaning and visual abstraction are key characteristics of African art that are reflected in your work. Are there symbols in your art that you would like audiences to notice and understand?

BM: There’s a lot of repetitive lines in my work. I use them for two reasons. Majority of the time, my work is also connected to African spirituality, so if there are lines, it usually represents the past, present, and future. For me it’s very important to acknowledge where I’m at, my ancestors who allow me to be where I am now, and make sure that I continue to create and make space for those who will come after me. I also just think it’s visually cool to put accents on different areas that I think are beautiful. I love big lips; big noses; I love very rich, deep skin. To me those things are beautiful.

I also use a lot of dots in my work which symbolize connection. We are all connected even though our stance in Blackness is very different. That is always a reminder to make sure that I work towards incorporating folks who I may not have incorporated in my work before, and make sure that everyone within the diaspora can be seen.

CM: “Made by Black” directly addresses a word included in your art. Could you tell me more about your signature? What is your intention when signing art with the name “Black” and what is the lasting impact you hope it has on your viewers?

BM: I got the [Black] tag inspiration from graffiti artists. Because my art fluctuates a lot in style, I wanted folks to recognize my work. I like the idea of the word Black being very bold (sometimes it’s subtle) and in-your-face on a piece especially if it doesn’t need to be. I’m creating so people can live as loud, open, and free as possible. Stamping Black all over my pieces kind of represents that. I also didn’t want my more abstract work to be watered down in any way. Sometimes a piece looks great without [the tag] but I still add it. I always get the question “Why?” And my question is “Why not?”

CM: The Black experience is impossible to describe in definitive terms. Considering the multifaceted nature of what it means to be Black, can you explain how you choose to represent this dimensionality as a creative?

BM: I represent what feels like home to me and parts of my home that are underrepresented. I grew up in a low-income neighborhood and there are a lot of things that are stigmatized about growing up in an urban community. There are so many things I love about how I grew up and how I understood community. I do my best to make sure that folks can see themselves in my art from my community and beyond.

CM: Artworks like “Ends Meet” and “Guidance” showcase your talent of juxtaposing compelling images using shape, color, and texture. What is your process of creating multimedia art?

BM: I like to include spiritual practices and beliefs into my pieces and practice because I don’t feel like I am creating by myself or based solely on my experience. Before I create, I ask my ancestors for guidance. Then, I look at what I have. I try not to buy [materials] unless I absolutely need [them]. Ends Meet was inspired by those who are living paycheck to paycheck and being resourceful. With that piece all I had was scraps and I just used what I had.

CM: If you had to define your art with a single word or phrase, what would it be?

BM: Black. That’s what it is. It’s Black, it will always be Black and never diverge from being Black. And I hope that when Black folks see my work, they feel a sense of home.

New Artist Spotlight: Maryam Rassapour

Maryam Rassapour is an Iranian American graphic designer, art teacher, and motion designer. She started her career as a teacher helping high school students prepare their college portfolios while working freelance. Rassapour brings awareness to issues of feminism using a variety of media and creates visually engaging art by drawing inspiration from her childhood and cultural influences.

In the following interview she speaks about her art and process with Touchstone intern Charmaine Mapp (a senior at George Mason University).

Charmaine Mapp: As a teacher and advocate of continuous education, what methods do you use to continue learning about yourself and the world? How do you implement these findings into your work?

Maryam Rassapour: I continue learning about myself through research and engagement with others. I study the history of other countries on feminism and social issues. Growing up in Iran under war conditions, I have had many good and bad experiences which I reflect in my art. I go to shows to learn more about other artists and look at the work of my students. I also look back at my older work to see what I can improve on. Ongoing discoveries keeps my art evolving and makes it more powerful and meaningful.

CM: You include writing in a lot of your artworks. For viewers who cannot read Persian, what do you hope they take away from your art despite potential language barriers and cultural differences?

MR: Persian calligraphy is more than writing; its symbols, its painting. Each word has its own curves and movement. I keep a translation on hand [for viewers], but I always use calligraphy as a texture in my art. Because I’m familiar with the words and sentence structure, I kind of play with it and change it.

CM: Are there any materials or art forms that you are curious about?

MR: I do sculpture with wire, but I would really like to learn more about molding and work with other sculptural materials.

CM: What prompts a new series and how do you know when that series is complete?

MR: I’m usually drawn to a subject or idea which creates a new series, or I watch something that sparks an idea. Because I am a mixed media artist, I experiment with materials to see what media works best for a new series. Finishing is hard. I might have decided that [a series is] finished, but the next day I come back to it and realize that something is missing. You feel it when it’s finished. When you look at it and see that you have conveyed the feeling to the viewer or it has a very strong composition, then you know. It’s a very challenging process.

CM: If you were to characterize the message of your art in a single word or sentence, what would it be?

MR: My last series [Unseen] was telling a story of the struggles, strength and survival of women, so resilience.

An Interview with Andrew Chalfen

Ash Newton, UMD Journalism student and Touchstone intern, interviewed Andrew Chalfen about his piece in the 2024 Iteration Reiteration exhibition.

Andrew Chalfen’s The Structure of Smoke is both an interpretation and subversion of patterns and repetition, the central theme of iteration reiteration. The intricate ink transfers create a complex array, but never repeat, while the painted wooden structure disrupts the rhythm of the piece by bursting out into three dimensions. The geometric shapes suggest algorithms or architecture, but their colors dazzle. When explaining the delicate balance of pattern and chaos in the piece, Chalfen says, “I rely on a mix of intentionality combined with a certain amount of randomization.” 

Ash Newton: What is your intent in creating this artwork?

Andrew Chalfen: Several answers, I suppose: I make art because that is what I do. Indeed, I feel compelled to do it and get antsy when I don't (same goes for creating music). I'm also following paths to see where my various aesthetic interests lead. "The Structure of Smoke" is the latest iteration of my exploration of certain forms (painted sticks, drawings used as ink transfers) and ways of using those forms in various arrangements/compositions. This path-following is a primary driver in what I do, asking the question "What if I do this?' and seeing how the work responds to that. I want to make work that coheres, makes aesthetic sense, is pleasing to the viewer. My pieces seem to suggest things, such as architecture, data, play, urban densities, etc without actually being those things. It not only involves a lot of puzzle solving and hopefully a few a-ha moments, but also a trust in the processes I've gradually developed over the years. I rely on a mix of intentionality combined with a certain amount of randomization. I make each stick and drawing not knowing exactly in what position it'll wind up in a work, or even in which work it'll end up. Thus, once I settle on a compositional strategy, I know generally in advance how a piece will turn out, but not specifically.

AN: I really like the way your work handled the exhibition's theme. Was the backing pattern predetermined?

AC: The general overall look of the backing pattern is something I have in mind in advance. However, there's a lot of randomization and chance involved at various points. The background is composed of many individual ink drawings, which tend to come into being in a pseudo-fractal manner as I make them. For the ink transfers, I used to use the original drawings, destroying them in the process, which after a while kind of bummed me out. Here I've spent all this work on a drawing only to have it used once and get destroyed. So I started scanning my drawings and printing them out and using the printouts to make the ink transfers. So I've got a growing library of scans of drawings I can pull from to create these complex assemblages. Plus the images are reversed due to the transfer process, adding another layer of unpredictability. The black and white of the drawings is a nice contrast to the colorful sticks. It's my current iteration for a background. In the past I've used solid gold fields, dark purple fields, various pale cloudscapes, just trying out different ideas.

AN: How was the wood structure constructed?

AC: I've developed a kind of factory line for stick creation. I take square dowels of various thicknesses, prime them, saw them into a variety of lengths, paint them on all sides, using painter's tape to get as clean a line as I can get, then varnish them. I want each stick to make aesthetic sense on its own, almost as a stand-alone piece of art. I figure if they look good individually, they'll look good massed. This has more or less worked out. I like to have a lot of painted sticks on hand when I begin to assemble a structure so I can hone in on what sticks go with what's already been constructed in terms of look and size. More puzzles to solve. After the background is completed and varnished, only then do I start gluing sticks to the panel and to each other. Once I've glued a stick down, I've committed. There's no undo. I have to be able to live with all my previous decisions. I kind of like that limitation (I kind of like having a lot of limitations. There are plenty of decisions to be made without the possibility of infinite options.) After I add each stick, I take a look at the overall composition to see where I feel the next stick needs to go and what color and shape it should be. At some point adding an additional piece feels like it would detract from the composition. That's how I know I'm done.

AN: Does putting art up for sale change its function? 

AC: I don't think so. I suppose this gets into what the purpose of art is in society and for the individual.  Plus artists have to eat. I guess I could just give away my art and music, but I feel an artist should be compensated for the work they do, just like anyone else.

AN: Do you care what the owner does with it?

AC: Hopefully they'll hang it on their wall and appreciate it! A lot of my pieces have no "up" - they can be hung in any 90 degree orientation. In fact, I wire a lot of my work with two wires so that the possessor of a piece can occasionally change up their viewing perspective. For me, I want people to enjoy my work, have things about it revealed slowly over time by observation. I'd rather have my art be in people's homes or, knock wood, a museum or two, than to have my home fill up with my works until I move along to the next astral plane. Maybe it's the performer in me, but I want others to enjoy/experience my work. Nice for someone to see art with a fresh set of eyes other than mine.

An Interview with Joy Nutt

Touchstone intern Talia Desai, a University of Pennsylvania student, interviewed Joy Nutt about her piece in the 2024 Iteration Reiteration juried exhibition.

Joy Nutt’s An Alternate Route is a vivid exploration of colors and patterns. The title comes from the initial vision for the piece changing overtime. Nutt painted this piece by placing large sections of color on the canvas and then later painting patterns on top. However, as she painted, she found herself repainting these sections. The artist embraced this evolution and idea that sometimes you have to take “an Alternate Route” in life.

When speaking about the inspiration for the piece, Nutt says, “This particular painting draws inspiration from the crazy quilt tradition in which scraps of leftover fabric are pieced together with simple or embroidery applique techniques. I think of each area of the painting as an opportunity to create a small piece of fabric, so kind of working in reverse of what a quilter would do.”

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Talia Desai: In what order did you paint the patterned sections and borders? Did the borders come first or the sections?

Joy Nutt: I started this painting with large areas of color only. The areas of color determine the sections of patterns. I decide what kind of pattern would look best against the background color and use found objects or traditional painting techniques to create the patterns. The black outline is the last step.

TD: Do the shapes of the borders reference anything in particular?

JN: No. It’s organically determined by the shape of the background colors.

TD: How long did it take to paint this piece? Did your vision of the end product change overtime?

JN: A painting of this size takes anywhere from 3-5 days if I’m working on it periodically. I never know what the end product will be when I start. I let the colors and patterns lead the way. The end product was different from how it started which answers the next question.

TD: How did you come up with the title?

JN: I was not satisfied with how the painting was going. I felt like I was trying to force patterns and colors together and it wasn’t looking cohesive. I painted over most of the canvas and only left a small portion of the original painting. I started over from the beginning of the process by adding areas of colors next to each other and then adding patterns on top. The title comes from the idea that you may start out going in one direction but end up having to take “An Alternate Route” along the way.

TD: Did you have a specific route/place in mind when creating this piece?

JN: No. It’s not based on a real or imaginary place. I was thinking more of how the colors and patterns interact with each other.

TD: How do you feel about being showcased in an exhibition with multiple quilts when you draw inspiration from quilts?

JN: I love it! I think of quilts as a form of fine art. I like how they can be geometric or organic. This particular painting draws inspiration from the crazy quilt tradition in which scraps of leftover fabric are pieced together with simple or embroidery applique techniques. I think of each area of the painting as an opportunity to create a small piece of fabric, so kind of working in reverse of what a quilter would do.

TD: How does the use of repetitive patterns impact your work?

JN: Patterns are essential to the work that I create. I like the challenge of coming up with as many pattern combinations as I can in one painting

An Interview with Anne Stine

Touchstone intern and GW Art History Grad Student Thea Polsky interviewed Anne Stine about her piece in the 2024 Iteration Reiteration juried exhibition.

Love is Heavy and Light, a title from Shakespeare’s Romeo and Juliet, captures the duality and complexity of love. The heavy rock formation imagery of the composition symbolizes the weight and intensity of affection, while the light colors and ethereal quality represent the work’s uplifting and delicate aspects. These rock formations build off each other, creating a kind of community where each member lovingly supports one another.

The use of encaustic painting captures the vibrant colors, fluidity, and textures of nature like no other medium. Using handmade beeswax paint, multiple translucent layers are created and invite viewers to explore the hidden depths of the surface. This encaustic process of layering and fusing with a blowtorch over and over embodies the show’s theme of repetition and refinement.

It’s the unpredictable nature of the piece’s medium that is truly inspiring and in its finished state has an overall balance of form, shapes, value, edge, and color.

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Thea Polsky: What led you to choose encaustic as the primary medium for your work?

Anne Stine: Encaustic painting lets me capture the vibrant colors, fluidity, and textures of nature like no other medium. In my abstract landscapes, I love to showcase vivid colors, dramatic textures, and a luminous quality. Using my handmade beeswax paint, I create multiple translucent layers that invite viewers to explore the hidden depths of the surface. The sculptural quality of the wax allows me to build textures that bring my work to life in a tactile way.

With a blowtorch in hand, I fused each layer onto a wood panel. I then gouge, scrape, and drip the wax to form impressionistic and abstract images of landscapes, waterways, and other natural scenes. It’s the unpredictable nature of the encaustic process that truly inspires me to push the boundaries of the medium and my imagination.

TP: How does the title relate to the artwork? 

AS: I chose the title, Love is Heavy and Light, from Shakespeare’s Romeo and Juliet because it captures the duality and complexity of love. The heavy rock formation imagery in the composition symbolize the weight and intensity of love, while the light colors and ethereal quality represent its uplifting and delicate aspects. This juxtaposition within the painting reflects the idea that love can be both a burden and a source of joy, much like the verse suggests. I also see rock formations as representing a “community” of individuals where each member lovingly supports one another.

TP: Tell me more about the abstract elements of your artwork.

AS: It’s much like a dance when I create an abstract landscape. I first start with a base painting where the composition is loosely etched in with mixed media mark making to capture the overall flow and connection of forms in the painting. Here, I allow myself the freedom to express whatever comes to mind knowing there will be an opportunity to edit the base at a later stage.

Next, I apply clear encaustic medium to protect the base and decide on the palette that I’ll choose depending on the message of the artwork. In this painting, I chose a soft cool palette of greys and blues with subtle warm notes of creams and browns to reflect the soft feeling of being in love.

I continue adding encaustic paint to create the larger forms progressing each step to smaller and smaller shapes as a way of adding interest and detail.  Lastly, I go back and add expressive marks or scrape a variety of lines for a feeling of movement and whimsy. I feel that the painting is finished when there is a balance to form, shapes, value, edge, and color.   

 TP: How does Love is Heavy and Light exemplify the theme of Iteration Reiteration?

AS: The artistic process itself of creating multiple translucent layers of beeswax paint is a direct form of iteration. Each layer builds upon the previous one, adding depth and complexity to the artwork. This process of layering and fusing with a blowtorch over and over embodies the theme of repetition and refinement. The repeated use of rectangular and square shapes in the artwork mirrors the natural patterns found in rock formations.

New Artist Spotlight: Susanne Tabet

Susanne Tabet’s abstract portraits are deeply intriguing, evoking a sense of mystical feminine power. Susanne began her career working as an abstract artist and has stuck with it ever since – she was drawn to the idea of “supplying questions, not answers” in her paintings, an element of the influence she draws from the Abstract Expressionist movement.

Her paintings do indeed supply just as many questions as answers: she seeks to create vaguely recognizable figures, yet constantly shifting in perspective. Susanne’s choice of subject is particularly relevant in creating this sense of familiarity yet mystique. When selecting her portrait, she is drawn by a particular energy: that of autonomy, strength, and tenacity. However, that doesn’t mean she seeks to depict a perfect, idealized woman. Rather, Susanne is drawn by the strength a woman carries in their everyday life. The women she paints could be a loose acquaintance, a close friend, or just someone she catches a glimpse of on the street: anyone with a strong, self-actualized agenda. She traces some of this inspiration back to her teen years, exploring “glossy, high-fashion magazines” and the women they portrayed. Their allure and sense of power is certainly mirrored in Susanne’s portraits, with their jagged angles and piercing gazes.

Susanne’s approach is highly intuitive, part of her process in which she avoids pre-planning any specific “prescriptive meaning.” The very nature of her process – avoiding any selection of color palette, formal composition, etc. in advance – results in a very “tactile” final piece, where certain elements seem to “interlock” at completion. Similarly, Susanne prefers to work on multiple pieces at any given moment, allowing her the time and space to revisit projects at will with a fresh eye. In returning to ongoing works, she finds that is exactly the moment where the final touch comes to her, whether that be her distinctive tones of blue and indigo, a certain highlight, or another geometric shape. Regardless of where the process leads her, Susanne’s talent shines through in her paintings, just as the sense of female empowerment shines through. 

New Artist Spotlight: Lesley Clarke

Lesley’s work in encaustic wax is rich, distinctive, and vivacious – she seeks to “evoke memories of our landscape” and our relationships with the physical world. Despite the skill and intricacy of her pieces, she hasn’t always worked with encaustic; she worked as an acrylic painter for most of her career and only began to incorporate encaustic over the past ten years. Today, she splits her time and space between the two endeavors, a separation that allows her to give her works time to “grow into their own” and to consider characteristics that one brings out in the other. She is one of several Touchstone artists who work out of the Torpedo Factory in Alexandria, and has accredited both institutions as being vibrant communities of artists.

Above all else, Lesley gives great attention to the process and intricate techniques that are required when working with encaustic wax. It is truly an ancient tradition, one that began with Egyptians using the process to create funeral portraits, artifacts that, remarkably, remain intact today. Today, much of the process remains the same as it did thousands of years ago: Lesley begins with creating the base mixture consisting of beeswax and resin, colored with dried pigments. She then uses a torch to create the rich texture that characterizes her work: this separates and splits the wax into lines and shapes that form the composition of the work. Her intuitive approach – she states she “works with however the wax speaks to her –  allows for her scenes to truly come to life, forming flowing lines and deep textural patterns. 

What makes Lesley’s work truly remarkable is her ability to create recognizable settings and themes that make the scene truly come alive. Whether she is depicting her native home of Scotland or modern ecological themes, Lesley seeks to address environmental issues. This concern first came to the forefront of her mind on a trip to Iceland: she was shocked by the shrinkage of glaciers happening “before her eyes” and found that it was disconcertingly similar to other ecological changes she observed in Scotland, such as seeing various maritime creatures being “strangled by pollution.” These themes emerge in her encaustic work, depicting issues such as shrinking of glaciers (Glacier Melt) and wildfires (Hope After Fire) in order to bring awareness to these changes happening in the environment around us. Despite the heaviness of these topics, her work is enlivened by a sense of hope: much of her work also centers upon ideas of growth and regeneration. She reminds us that in spite of the damage humans are causing to the environment, nature, above all else, remains resilient: there is a chance for the course to be reversed and the clock to be turned back.

New Artist Spotlight: Veronica Barker-Barzel

Veronica Barker-Barzel has “always been a painter in some sense,” an identity that clearly comes across in her printmaking. She got her start in printmaking twelve years ago, and quite early on she sought to synthesize the two mediums of printmaking and painting. Veronica states that she first “fell in love with the process” itself, and then learned to express her ideas and emotions through her subjects.

Her recent works expand into mixed-media sculpture—she is currently working on a collage piece that synthesizes items like memorabilia, cigarette cases, and old boxes that serve as an homage to the memory of an historical building. Today, Veronica’s prints center around the mythological, in particular creatures and themes that she has encountered through her extensive travels throughout Europe and Asia. 

Veronica’s journey through printmaking as a medium is defined by rich patterns, cultivating joy, and creating a sense of wonder. Whether working on a woodblock poster for a local arts festival or building on her recurring theme of the jackalope, her goal remains the same: to bring a healing factor to her audience. She likes to play in the abstract— the idea of playfulness certainly comes through in her whirling patterns, whimsical subjects, and bold colors.

Veronica was put off by the “cleanness” and sterility of life in the United States, she feels that the rich and mystical traditions of countries such as Spain, Italy, and Japan bridge gaps through time to bring “spirit beings” into modern life. Thus, this idea of a healing factor in her art is one that connects people through time and within this feeling of joy and wonder. 

Going forward, Veronica plans to continue to build upon these themes. She is driven by her own intuition, as she simply does “what the paper tells me to do.” In terms of her practical process, Veronica hopes to continue to push herself out of her comfort zone by working with a larger variety of colors, in particular moving from her current use of blues into more reds, oranges, yellows. Overall, she wants to keep growing and to keep challenging herself—whether she continues to work with the motif of jackalope or continues to include other mystical creatures, her work will certainly inspire, in her own words, “dancing in the festival of life.”

New Artist Spotlight: Anice Hoachlander

Anice Hoachlander has been working as an architectural photographer for the past thirty years, or as she puts it, “all I have ever done in my life has been a photographer.” Anice works as both a commercial photographer of architecture and a fine art photographer, though her interest in fine art is  recently revived after taking a backseat to focus on her commissions. Despite her wealth of experience and background as an architectural photographer, she states that she still “felt like an emerging artist” as she began to explore her fine art more. This feeling is exactly what drew Anice to Touchstone: to her, the community has been a guiding force. As she seeks to apply her foundations and line of thinking to this new pursuit, she found that the collective of artists at Touchstone have helped her to articulate that transition.

Even as a commercial photographer, Anice found that it was important to her to photograph buildings in a dynamic, living way. This idea lent itself very well to her fine art portfolios, the titles of which being “Mushroom Symphonics”, “Geometric Expressionism” (inspired by the Precisionist Movement), “The Structural Landscape” (the subject being Live Oak trees), and “Elemental Details” (depicting miniature natural details in sharp view). These portfolios are all united by her inspiration she takes from the repetition, order, and structure of architecture and applying that concept to organic materials. She views these elements of nature as being building material in their own way, their patterns forming solid, 3-D shapes. Anice is particularly interested in the way light brings fresh energy and life to these structures. In fact, she states that “everywhere I see structure, and I see its light.” This is particularly evident in her “Mushroom Symphonics” collection - the ripples of the mushrooms, enlarged in great detail yet retaining excellent sharpness is brought to life by light falling into the crevasses of the organic material and bouncing off of the smooth walls with a sense of lyricism.

In fact, her ability to retain eloquent articulation of these organic details of the structures in such a micro-view is remarkable. Anice accomplishes this by taking multiple images, racking the focus differently on separate parts of the subject, and then stacking them together to form a sharply articulated photo. While the final product is as detailed as the view one would see with their eye, the process produces a sort of “softness” in the lines that introduce an element of abstraction. The harsh lines of the structural patterns are diffused out by the softness of the light that Anice brights out through this process.

One of Anice’s goals is ensuring that her portfolios all “look like they’ve come from the same photographer,” despite having greatly varied subject matters. This goal has certainly been achieved: her four fine art portfolios are unified by attention to bringing a source of dynamism to structure. Anice believes that “everything is patterns and repetition.” In viewing Anice’s work, this vision of structure quite clearly comes across. Her photography creates a worldview that is driven by the rhythm of these organic melodies flowing from the world around us. 

See Anice’s work in New Artists Spotlight exhibition and in ongoing Touchstone group shows.