c.d. Edwards Studio Presents PRISM VI: Choice

By Editorial Team on June 25, 2018

Wed, 27 June 2018 - Sat, 28 July 2018

Photo courtesy of Cheryl Edwards.


Choice, will open on June 27, 2018 at c.d. Edwards Studio #9 located at 716 Monroe Street, NE, Washington, DC 20017. The exhibit maybe viewed every Thursday, Friday and Saturday from 12:00 until 5:00 pm. The open reception will be held on July 21, 2018 from 6:00 pm until 8:00 pm. The exhibit will close on July 28, 2018. The exhibiting artists are as follows:

Nikki Brugnoli: The iteration of the FIELD GUIDES series exhibited in Choice is an exploration into the transformative power of landscape, memory, time, and the ritual of daily observation through abstraction and the widening power of the horizon in its various forms. Brugnoli seeks to find mystery and presence through meticulous investigations of daily life, many of which are recorded digitally during walks. Various approaches to seeing and recording are permutations and meditations, informed by a very specific history, growing up inside of a 5-mile radius in South Western, PA and currently, unexpectedly, living on a sprawling farm in rural VA where, through intentional, repeated, and widening circles, she maps her spaces using careful selections of photo documentation to record any changes that may occur from day to day, in an effort to translate those observations into studio investigations through drawing and screen print.

The horizon, as an idea or actual form is the physical embodiment of reach, longing, expansion, and in many ways, the unattainable. It is a line – a horizontal pull through physical, atmospheric space. The horizon is always in sight but never within reach; the infinite and finite; the point where light meets dark. It beckons and draws one into the immediate present, while simultaneously stretching memory and imagination for other places in time.

These are active investigations into loss and surrender.

Cheryl D. Edwards: The Identity of Water series uses silkscreened drawings and microscopic photographs of saliva categorized by race and gender. Edwards’ work continues her investigation of how water, in this instance saliva and natural bodies of water in the United States define one’s core identity; as oppose to or incongruence with race. Based upon a sampling of four people, she noticed a similarity between the African American Male and Female images; and similar contents in the sample of the African American and Caucasian Male; however there were no similarities found in the image of the Caucasian Female, albeit one exception. Arguably, it could be stated that each individual was unique or remarkably the same.

Each individual is unique as it relates to the body of water in their respective environment that influenced the memories of their development. Water memory is the ability of water to retain a memory of substances previously dissolved in it even after an arbitrary number of serial dilutions.

The work begs the question of how do we analyze race and its basis for inequality in this Country? How do we discuss race based upon the facts that our DNA all contains the element of water and the fact that natural bodies of water influence our memories? Do we choose to examine racial make-up to decide how we exist in society; or do we choose to look deeper at the universal elements and the influence of water upon our existence?

Azia Claudia Gibson-Hunter: Playing To WIN series -The question of how one wins and why can be essential to understanding the collective character of a country or that of a single individual and the collective character of a country. The answers begin to reveal themselves not only in elections (if they are held at all), but sports, lotteries, video games, children’s playground activities, relationships and the simple board game. Questions concerning morality, identity, patriotism, class, race and ethnicity can enter this inquiry. To win, can be a beautiful outward expression of luck, or skills attained through disciple and work, yet when it comes due to unfair or dishonest practices, it can undermine the positive qualities of a person and or a nation. Winning can shine so brightly as a goal that it can become a blinding force.

Using motifs from classic board games, as well as lotto tickets, playing cards, and game related quotes, images were created while pondering the phrase “playing to WIN”. Painting, silkscreen printing, gum Arabic transfer, linoleum printing, drawing, and stamping are some of the processes utilized in these mixed media works.

Lisa Rosenstein: Renewal is an installation created during 2017-2018, the size is variable and the materials used are Cotton thread, monofilament, wire, and acrylic mediums. Life is chaotic, complex, noisy, and at times painfully full. Her art is a reflection of her need for peace and quiet. She seeks to create a space of contemplation, solitude, and a visual opportunity for slowing down.

She made the choice to use the color white in her work to eliminate some of the noise of life and exemplify the decision that “Less is more”. Henrik Sundqvist: The artwork is comprised of silkscreened photographs and drawings featuring motorized flip boxes assembled to chairs with faded sequenced patterns in the background. The images represent scenes of migration, war, escape, hope and solitude. Although timely today, the imagery speaks to a history of displacement that has been a constant throughout evolution.

The machines infer to two absent actors — a viewer (passive consumer) and a presenter (storyteller) — where the viewer statically consumes and the presenter seemingly provides the images. “Moving drawings” speak to a modern way of consuming information and the way in which we experience life — storytelling in milliseconds and fractions. Movement seems apparent but the entire scene appears to be frozen in time.

This work is a continuation of the time-based installation (currently on exhibit at the Delaware Art Museum), created by printmaker Henrik Sundqvist and sculptor David D’Orio. Animated drawings are presented as part of a larger device that simultaneously bombards the spectator with multiple simultaneous scenes. The artwork alludes to themes of re-education, re-telling, re-presenting, and a perceived loss of control of the meaning of truth.

The short and inconstant glimpses aim to tell no real narrative and provide the viewer little in the way of contextual information — instead, the narrative is left open to discover.

c.d. Edwards Studio #9 is located at 716 Monroe Street NE.