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.