Evan Reed: New and Recent Sculptures
September 5 – 30, 2006
Evan Reed’s New and Recent Sculptures, the artist’s first solo exhibition in DC, is comprised of four large-scale sculptures. Reed’s floor- and wall-based works transform salvaged quotidian materials into sculptural pieces that suggest personal histories. Formal and conceptual concerns serve each other in Reed’s work – line, plane, texture and volume work with the subject matter to develop narrative. According to Reed, “The way a material looks and behaves and the way a latent memory of its everyday use is conveyed to the viewer works with the form to make literal and imaginative associations.”

Flash³ Auction
October 6 – 13, 2006
The Flash³ Auction features artwork by past Flashpoint exhibitors along with works from artist residents in the Mather Studios, Cultural Development Corporation’s first artist live/work housing project. A preview reception for the auction will be held on October 5; the auction takes place on October 14, 2006, during Flash³, the third annual Red Circle Party at Flashpoint.

A. B. Miner, Ian Jehle, Nekisha Durrett: Me, You & Those Other Folks
October 26 – November 22, 2006
In Me, You & Those Other Folks, artists A. B. Miner, Ian Jehle and Nekisha Durrett examine portraiture from the first, second and third person perspectives. Painter Miner takes on the first-person perspective with claustrophobic, intimately scaled and focused self-portraits: I, the artist, the creator of the image. Jehle examines the second person perspective with delicate but large-scale pencil drawings of personalities in the DC art world: you, the viewer, to whom artworks are typically addressed. Finally, Durrett investigates the third person with fantastic, large-scale computer-generated portraits of the “other:” s/he, the model, the origin of portraiture.

consume
November 30, 2006 – January 6, 2007
The exhibition consume invites viewers to consider the nuance and ambiguity inherent in our concepts of consumption—and what, how, and why we consume. Both a necessary process for survival and a statement of over-indulgence and waste in our material culture, consumption can be defined as anything from eating and drinking to using, squandering or ravaging completely. Curated by Angela Jerardi, consume features the work of a diverse group of artists including Lani Iacovelli, Christopher Lawrence, Jessie Lehson, Heidi Neff and Michael Wichita. Encompassing a range of media, the exhibition explores different aspects of what it means to consume, or be consumed by, experiences, objects and ourselves.

Prayers & Joking: New Works by Cara Ober
January 11 – February 10, 2007
Prayers & Joking is a site-specific installation of Baltimore-based artist Cara Ober’s multi-media drawings and paintings. Curated by Flashpoint Gallery Manager Rebecca Lowery, the exhibition underscores Ober’s layered approach to image-making, which is at once meditative and absurdist. Taking motifs from her upbringing such as wallpaper, textiles, tattoos and graffiti, Ober explores conflict and relationships on a two-dimensional surface, weaving stories with forms to create a distinct, if undefined, narrative impression. Summarizing the juxtapositions of her aesthetic approach, the artist confesses, “I find beauty in all the wrong places.”

Christopher Saah: Nightscenes
February 15 – March 17, 2007
Curated by Andrea Pollan, Nightscenes presents Christopher Saah’s haunting, surreal color photographs. Approximately 25 photographs follow three principal areas of artistic investigation: the relationship between physical space and its psychological import; the visual language, syntax and semantics that define and differentiate photographic and film-based (or cinematographic) images; and, the implications of digital technologies on notions of visual representation. Saah explores the ability of photographic images to generate fictions that maintain some semblance relative to their source, addressing and exploiting the discomfort created when the viewer must negotiate between what is perceived as "real" and imaginary.

Janis Goodman: Shifting Waters
March 22 – April 21, 2007
The graphite drawings in Janis Goodman’s Shifting Waters focus on water in its various guises, exploring the patterns and movements of tides; the movement of water, waterfalls and splashes; and the natural habitats surrounding waterways. Featuring approximately 13 large-scale drawings, this grouping of works highlights the artist’s elegant, gestural approach to mark-making. Goodman’s drawings elicit contemplation on this vital natural force and its critical place in the ecological balance, the uses and importance of clean water and the devastating impact of water pollution on the ecosystem.

Megan Jacobs and Anna Westfall: Penumbra
April 27 – June 2, 2007
Penumbra, a collaborative exhibition by Megan Jacobs and Anna Westfall, explores the fluid nature of memory, elements that influence the body and memory and the artists’ shared belief in the interconnectedness of all matter. Using video, glass, porcelain and ephemeral materials such as ice and light, the artists create an interactive installation to inspire a multiplicity of sensory reactions. Numerous divisions in the gallery will transform the space, creating an interactive experience that incorporates time-based media as well as sonic, kinetic and tactile surfaces into the visual landscape of the representation of memory.

WPA\C: Anonymous
June 7 – 23, 2007
Washington Project for the Arts\Corcoran (WPA\C) returns to Flashpoint with Anonymous III, showcasing works by 100 established and emerging area artists hung salon-style in the gallery. As with previous Anonymous exhibitions, the artists’ names remain unknown until the 2’x2’ works are sold. Ten area artists are invited to curate; each in turn invites nine artists to take part, making Anonymous III a playful survey of contemporary artmaking in DC.

Valerie Huhn: Trace Evidence
June 30 – July 28, 2007
Can identity be reduced to a fingerprint? If identity changes over time, how does the fingerprint reflect that evolution? Begun in response to a police chase in her neighborhood in 1998, the fingerprint art of Valerie Huhn has become a life-affirming statement and a means through which to see this mark, commonly associated with police and crime, from a distinctive perspective. Trace Evidence collects for the first time the large sheets, books and wax-dipped sculptures created from the artist's fingerprints. As a whole, these works are both inviting, with their abstract patterns and colors, and disconcerting, as they trace her obsessive repetition. The inconsistencies of Huhn's marks suggest the meaning and impermanence of identity, as though while their colors change and they subtly move and change over each page, they are taking on the guises of new personas.

Earth on Stone on Earth is Naturally So
August 4 – 31, 2007
Throughout August Earth on Stone on Earth is Naturally So journeys through 800 diurnal sequences, alternating between sounded days and film nights while evolving in the growth and decay of planted sculptures. The cycles construct an environment for planted roofs, introducing diagrammatic interpretations of green roofs and urban oases: sustainable burials, urban habitat, community agriculture and more. Constructed tree forms and a patchwork of sedum and Astroturf surround the gardens, eliciting the sensations of urban oases.

Prior to the exhibit, groups of environmental writers participated in human installations with the cooperation of Golden Gate National Park Service and New York City Parks Department, Prospect Park. While resting in the Earth, the group contemplated their material constitution and vitality. Works inspired from these events exhibit on the gallery walls, and are performed in a sound installation emitting from an elevated, planted berm. A panel of contemporary practitioners extends the exhibits' ecological discourse with a discussion on diverse ecological engagement methods.

For more information on the show, visit www.earthonstone.org.