Matthew Colaizzo

Matthew Colaizzo creates multi-block woodcut prints, drawing inspiration from quarries, mines, and other sites where the earth has been excavated, moved, and otherwise disrupted by human efforts. Colaizzo's prints reference historical representations of the landscape, with a specific interest in the history of Japanese woodblock printing while depicting the disruption and destabilization of the earth that takes place in the name of human progress.

 

Edgar Endress

Edgar Endress' video, How to Make it Rain is structured around the belief among Quechuas in the Andes, that in order to make it rain, it is necessary to go to a pacheta (high peak) to burn llama manure. The video is a poetic exploration of the ongoing struggle in the Andes between the forces of nature, the debris of a Spanish colonial system, and its troubled relationship to traditional ways of living for indigenous groups. Endress' Santos, will also be exhibited and is a series of prints that reference a complicated history of botanical and natural illustrations that were created as a means of scientific dominance over the new colonized landscape. 

 

Ryan Hoover

Ryan Hoover employs a range of digital, biological, and traditional media to explore technology, its history, and the manner in which it structures our society and shapes us as individuals. For the Arborescent Algorithms series, the artist used academic research and extensive observation to create an algorithm that mimics the growth patterns of trees. The resulting 3D printed sculptures imitate the growth patterns of specific species, exploring the parallels between contemporary digital technology and the processes of nature.

 

Ariel Jackson
Ariel Jackson is a multi-media artist who creates science-fiction landscapes for processing sociopolitical traumas. Jackson's collaged videos and sculptures feature invented landscapes, narratives, and two main characters, Lil Lil and Confuserella, to offer new ways of looking at the sociopolitical obstacles facing minorities in a hostile landscape. 

 

Katarina Jerinic
Katarina Jerinic's Beautification This Site centers on a leftover piece of the landscape the artist acquired through the Department of Transportation's Adopt-A-Highway Program. Part earthwork, part self-assigned residency, Beautification This Site calls attention to the land itself and ways it is shaped by bureaucratic and natural forces, passers-by, and Jerinic's endless efforts to maintain it.

 

Matthew Mann
Matthew Mann exploits the mechanisms of painting -- perspective systems, color, space, and design -- to construct narrative meaning and explore painting's debt to architecture. In his latest series, Twee Brutalism, he explores architecture's power to condition environments and demonstrate civic priorities and communal messaging, drawing on his own experience as a resident of a quickly changing urban landscape.

 

Jaimes Mayhew

Alejandro Pintado´s work explores historical memory of landscape and its transformation over time. He has edited and transformed the work of artists such as Claude Lorraine (1600-1682), Mortitz Rugendas (1802-1858), and José María Velasco (1840-1912). Pintado selects pristine landscapes that are no longer accessible or possible in the present day and intervenes with contemporary objects, mixing the past with the present.

Jacob Rivkin's video work considers and navigates the gaps between the analog and the digital methods of cinema and perception. Filmed on location in the level Bonneville Salt Flats, Utah and remote cliffs of Salvage, Newfoundland, his film Fortunate Isles: Landings interprets the landscape through the lens of the camera to explore questions of evolution, reality, and wonder.

Margarita S á nchez Urdaneta's video works examine the way in which loss and trauma are reformulated through political processes to either hide or overexpose predetermined historical narrations. Through the analysis and re-articulation of architectural sites, landscapes, testimonies, accounts, and literary fictions the artist questions the forms of representation that perpetuate these narrations.

Kate Stewart  depicts the landscape as a common motif and as a literal reference and a symbolic notion. Stewart will install a walnut ink wall-drawing at AAC that reference s Chinese landscape painting and the feeling of being trapped from within a brambly landscape. Coupled with the artist's colorful paintings, the landscape is abstracted and perspective shifts to create an uneasy meditation on artifice, reality ,  and escape in our culture.

 

Our programs are made possible through the generous support of the Virginia Commission for the Arts/NEA, Arlington County through the Arlington Cultural Affairs division of Arlington Economic Development and the Arlington Commission for the Arts, The Andy Warhol Foundation for the Visual Arts, The Morris & Gwendolyn Cafritz F oundation, The Washington Forrest Foundation, BB&T, The Arlington Community Foundation, Founders of the Fund Your Artist Vision, and AAC members .