October 2018 Exhibitions at VisArts

By Editorial Team on October 23, 2018

Fri, 26 October 2018 - Sun, 18 November 2018

Andrea Sherrill Evans, Invasive #23, #22, & #19, 2018, silverpoint on prepared paper, each 4.25 x 6 inches. Courtesy of VisArts.
Opening Reception: Friday, October 26 from 6pm to 7pm
Artist Talks: Friday, October 26 from 7pm to 9pm

Andrea Sherrill Evans: Invasive
October 19 – November 18, 2018
Common Ground Gallery
Invasive documents the transformed – and transforming – landscape of the mid-Atlantic investigating the ways in which “Nature” and the “natural” shift under the shadow of the Anthropocene. The postcard-sized drawings of Invasive depict monumental masses of invasive plants blanketing the native landscape along highways in Maryland, Virginia, Delaware, Pennsylvania, and New Jersey. Originally introduced by humans both inadvertently and intentionally, invasive species such as English ivy (Hedera helix), tree of heaven (Ailanthus altissima), and kudzu (Pueraria montana var. lobata), outcompete native plants in the region and impact entire ecosystems. Rendered through intricate mark-making and subtle tones of silverpoint, images of this dense vegetation ebb and flow through the series. Invasive and native plants amass, becoming amorphous, impenetrable, and at times, almost monstrous, bound only by the sharp edge of the road and empty sky. While perspective and point of view shifts across the drawings, the human imprint upon the landscape remains unrelenting.

Fabiola Alvarez Yurcisin, Green/Blue Breeding Cage, 2017, aluminum cage, white paint, double-sided adhesive tape, gaffer tape, green and blue metallic ribbon, red-white-green ribbon, LED law enforcement emergency strobe lights, AC to DC converter, and extension cord. Courtesy of VisArts.

Fabiola Alvarez Yurcisin: Open System
October 19 – November 18, 2018
Concourse Gallery
Fabiola Alvarez Yurcisin’s installation at VisArts saturates the gallery with color, light, and shimmering evidence that all systems are interdependent even when there are elements with counter purposes. “Every input and output in an open system causes a feedback loop of relationships,” states Alvarez Yurcisin. Carefully placed cage-like sculptures woven with metallic ribbon, obsolete recording technologies, and mirrored surfaces emit and reflect light and color through window and door-like openings. “My woven cages always have an opening for the viewer,” says Alvarez Yurcisin. “The cages function as psychological devices that point to the artificial forms of division created by systems of oppression, power, and privilege.” Alvarez Yurcisin employs weaving as a form of language and a relational tool. The viewer enters Alvarez Yurcisin’s installation and becomes part of her system – “woven” into a relationship between being an insider and an outsider, implicitly entangled with the disposable synthetic world and the cyclical natural world.

Leslie Shellow, Mineral Pool, 2018, Acrylic ink, charcoal, paint pen, on hand cut Yupo and Reeves BFK papers, entomological pins, 54 x 50 x 3 inches. Courtesy of VisArts.

Leslie Shellow: The Substance of Matter
October 19 – November 18, 2018
Gibbs St. Gallery
Leslie Shellow was born in Washington DC in 1969 and currently resides in Baltimore, Maryland. She has exhibited in such venues as The Delaware Center for Contemporary Art, the Silber Art Gallery at Goucher College, the King Street Art Gallery at Montgomery College, the National Institute of Health and the Arlington Arts Center in Virginia. In 2015, she was selected as a Sondheim Prize semifinalist. Her most recent solo exhibition is on view at the Julio Fine Arts Gallery at Loyola University of Maryland from October 6 – November 3, 2016. Leslie was awarded the Maryland State Arts Council Individual Artist Award for Works on Paper in 2010, 2013 and 2016.

Stephanie Mercedes, Los Relicarios, installation view. Courtesy of VisArts.

Stephanie Mercedes: Los Relicarios
October 8 – January 6, 2018
355 Pod Space | Rockville Town Square
During the Argentinian Dictatorship (1976-83) grandmothers and mothers would protest the forced disappearance of their children and loved by ones by wearing lockets of their faces in the streets. This simple gesture reflects the often female, delicate and intimate methods of protest during this dark period of Argentinian history. This installation, re-images the original acts of protests in lockets that are suspended from the ceiling each acting as small light boxes.

This installation is part of a larger project by the artist, Stephanie Mercedes, entitled “Luz del Día: Copyrighting the Light of Day” in which the artist is combating pending copyright legislation that would make the photographic archives of the Argentinian Dictatorship inaccessible to the public.

Gelare Khoshgozaran, U.S. Customs Demands to Know, LED lit packages, dimensions variable, 2016-ongoing. Courtesy of VisArts.

Here From You
Curated by Anthony Stepter, 2018 VisArts Emerging Curator
October 26 – December 2, 2018
Kaplan Gallery, VisArts, 2nd Floor
A care package; money to cover the rent; a big box full of snacks and practical items for the new year—a remittance is a not just a gesture, but an attempt to maintain connections. Artists, like all people, are in many ways more connected across geography than ever before, but barriers, both natural and political, often separate people and homelands. The act of sending remittances in the form of money earned in one country back to one’s home is not just common, but in some locations around the world, an indispensable part of both daily life and the national economy.

Here From You is a group exhibition that emerged from personal reflections on the practice of sending remittances and the ways in which this very common act is often presented in popular media as merely a financial transaction. This oversimplification is often used in arguments to either support or denigrate specific communities, particularly those facing forced movement and other forms of oppression. In truth, networks of remittance may be as much about maintaining personal and emotional connections across a separation as anything else.

This exhibition considers the act of attempting to connect across a separation to be a broadly human experience that can be expressed over physical distance, throughout time, and across generations. The participating artists have all produced work that invite reflections on how distance, movement, and separation manifests in sometimes personal and sometimes very political ways.

Here From You features the work of Michelle Dizon, Alexandria Eregbu, Fidencio Fifield-Perez, Rami George, Daniel Haddad Troconis, and Gelare Khoshgozaran.

About the VisArts Emerging Curator: Anthony Stepter works at the University of Illinois at Chicago (UIC) where he is the assistant director of the graduate program in Museum and Exhibition Studies and served as the coordinator of public programs at Gallery 400 for three years. He graduated from the School of the Art Institute of Chicago with an M.A. in Visual and Critical Studies. Anthony has curated exhibitions and projects for ACRE, the Washington Park Arts Incubator at the University of Chicago, and the Open Engagement Conference among other sites. He served as a juror for apexart, collaborated with the Office of Public Culture in Grand Rapids, Michigan, and co-curated Extinct Entities, a month-long performance series of commissioned art works exploring the history of Chicago-based art spaces that no longer exist. Anthony’s work seeks to encourage museums and galleries to consider their relationship to the communities in which they program and to support projects that invite publics to define and generate meaningful connections to works of art and ideas.

About the VisArts Emerging Curator Program: The VisArts Emerging Curator Program pairs an emerging curator with an experienced mentoring curator to produce new exhibitions and related programming. The program is generously funded by the Windgate Charitable Foundation.

VisArts at Rockville is located three blocks from the Rockville Metro station at 155 Gibbs Street, Rockville, MD.