ASSEMBLAGE: 09/05 thru 09/30/2017





  • a work of art made by grouping found or unrelated objects.

    Reception to be held on Friday, September 22 from 5:30 to 8pm.


    Rim Formation by Richard Dana

    Richard L. Dana

  • is a self-taught artist who has exhibited extensively in the United States and internationally. His work has appeared in over 20 one-person and over 100 group exhibitions.

    Selected exhibitions in the United States include the Corcoran Gallery of Art (Washington, DC), the Chrysler Museum (Norfolk VA), the Octagon House Museum (Washington, DC), the Drawing Center (New York, NY), Tribes Gallery (New York, NY), the International Monetary Fund (Washington, DC), Maryland Art Place (Baltimore, MD), the Washington Project for the Arts (Washington, DC), the Hotchkiss School (Lakeville, Conn.) and the Troyer, Fitzpatrick, Lassman Gallery (Washington, DC).

    Internationally Mr. Dana has exhibited in Belgium, Brazil, Egypt, Germany, Italy, Japan, Kazakhstan, Morocco, Russia, Senegal, South Africa, Taiwan, Turkey, Uzbekistan and Vietnam.

    Mr. Dana received an undergraduate degree in Russian Studies from the University of North Carolina at Chapel Hill in 1975 and a master’s degree in International Relations from Johns Hopkin’s School of Advanced International Studies in 1977. He worked as an economist and Soviet Affairs expert in Washington, D.C. from 1977 to 1984. Having spent much of his free time painting since preparatory school, he decided in 1984 to transform into a full-time artist and has been creating art ever since.


Turquoise Pii 3 by Barbara Liotta

Barbara Liotta

My aesthetic bent is towards a rather old-fashioned love of transcendent high art.  I am not interested in making voguish, grievance, fashionable or celebrity work.  I try to create art that is both beautiful and not stuck in time.

My work is not about landscape but about human beings.  It should feel inhabited, it should contain real presence. I believe that I can infuse my work with life; make pieces that transcend their materials and become essential.

In all the three genres in which I concurrently work, I am interested in a lyrical post-minimal vision.  I use an austerity of means and approaches to achieve work that floats and glistens and pulls the viewer towards it. The opposite of decorative, I am after a kind of swooning beauty that, to keep free of sticky sentimentality, must exist within the confines of a clear conceptual rigor.

There are rock and cord pieces, monofilament and epoxy pieces, and musical drawings. Each work is made of the fewest possible elements. Each depends on intricate balances to build its presence and lift it out of the mundane.  Each contains a tantalizing austere grace.

The stone work, which is the bulk of my practice, suspends shattered granites and marbles on cords such that they breathe with the air.  They play on a balance between the perfect formal parallels made by the weighted strings and the power and raw energy of the rich shattered and bound stones. The monofilament pieces are made of pure line as it scrolls and unfurls and thrusts into space.  They are radiant with movement and color. The musical drawings reach for the experience of Beethoven Piano Concerti; not to reproduce it, but to dance it.

I am interested in pursuing a distilled but luminous vision.  In all of my practice I cultivate the discerning eye; stripping away what is not essential in order to leave what is true and lovely and strong.  I’m after those little hits of pure aesthetic joy; Michael Heizer’s ‘bursting sense of loveliness.’


Mary Mortimer

Mary Mortimer:

Common threads in my work are food, home and environment. My most recent work concerns family history – in particular, that of my paternal grandmother. Upon receiving a photograph of her father and his daughters, I began exploring my lost Quaker heritage. This work stems from the journey into that past and its relevance to my present. Mary is a print maker and fiber artist at The Compound Gallery and Studios in Oakland, CA. She holds a BFA from The School of Visual Arts in NYC.


Sugar Bowl by Mary Mortimer


RJ Newhall

Beauty is always my purpose, whether I am creating a canvas, a sculpture, or a piece of furniture.

I began my life as an artist in Montana. As a child I took in the great landscapes with every breath — mountain ranges in every direction, living drama in the sky, rich palettes of color. Outside every day we had the freedom to construct our own lives. I began to watercolor at age 12, and have never stopped making art. My architecture degree gave me a strong foundation in design and aesthetics.

Moving through different media — oils and watercolors, sculpture, and furniture — gives me an endless pathway to explore themes and ideas.  I want to add beauty to the world, and each piece offers the hope that I just might succeed.

My Fault End by RJ Newhall