In DisCerning Eye: Lisa Battle's "Interconnections"

Pieces of the Whole

Ceramic sculptures by Lisa Battle, photographs by 15 Studio Gallery artists and Kay Chernush

MARK JENKINS

NOV 11, 2024

Lisa Battle, “Cosmic Dance” (Courtesy of Studio Gallery)

WATERY FORMS MADE SOLID, Lisa Battle's multi-piece ceramic sculptures suggest surges and starfish, but also petals, arms, or rotors. The local artist's creations, arranged in linked designs on the walls of Studio Gallery's main floor, illustrate the show's title, "Interconnections." The components fit together snugly, but without touching, which gives a sense of lightness to the heavy shapes.

Some of Battle's handmade, wood-fired creations are single pieces, although those can be as complex as "Oceana," a coiling pillar that combines the shapes of shells and waves. Several pieces center on holes, cosmic portals defined by surrounding structures that can appear bony, vegetal, or softly fleshy. There are even a few functional objects, vases made of planes of clay that overlap improbably into coherent form, sometimes floral. The sculptures's colors are usually earthy tans, browns, and greens, fluidly mingled, although the hues sometimes shift toward oceanic blue-gray.

The artist takes inspiration from the Greco-Roman idea of a world spirit that connects all living creatures, a classical notion updated into the contemporary Gaia theory of synergy among all Earthly creatures. "Gaia Hypothesis," in fact, is the title of one of the most striking single-part sculptures, an intricately incised oval setting for a dark, narrow gateway.

Such ceramic constructions as "Rose Canyon," likely inspired by eroded rock landscapes of the arid West, appear shattered. More often, however, the separate shards of the multi-part assemblages seem to be engaged in complementary motion. In Battle's sculptures, the world spirit is a sort of dance.”

Review by Mark Jenkins, DisCerning Eye, November 2024. Thank you!

In the Washington City Paper: Gary Anthes' Exhibit "Dust and Destiny on the Great Plains"

Eddie Palmieri and Four Must-See Art Exhibits: City Lights for Oct. 17–23

Latin jazz artist Eddie Palmieri plays with longtime bandmates, silkscreens from Houston’s Carlos Hernandez, Gary Anthes’ Dust Bowl warning about looming environmental decay, a Morton Fine Arts’ *a pop-up, and Mari Calai’s GENESIS.

Closes Oct. 26: Gary Anthes at Studio Gallery

“Abandoned Farm, Kimball, Nebraska, 2023” by Gary Anthes

A photographer’s road trip through the sparsely populated west is, at this point, something of an American cliche. Gary Anthes’ exhibit “Dust and Destiny on the Great Plains” includes some of the expected subject matter—abandoned general stores, dilapidated farm buildings, boarded-up Main Street shops, dusty vintage cars, cracked and peeling grain elevators—and it offers a Dust Bowl warning about looming environmental decay. Still, the series benefits from its surprisingly sprightly mood, offering a striking contrast between the decay on view and the glorious light that illuminates it. Anthes—whose most notable prior exhibit in D.C. involved placing natural and man-made objects against the backdrop of interiors of an abandoned 200-year-old barn on his property—made his current collection of images during a 1,000-mile, back-road jaunt through seven states. Several of Anthes’ images feature facades with compellingly rhythmic wooden shingling, one of which includes an appealing arrangement of broken windows, in an echo of Minor White’s “The Three Thirds.” Another image, of a row of grain elevators alongside a receding rail line in Yuma, Colorado, conjures the Neoclassicism of Charles Sheeler’s painted depiction of Ford’s River Rouge plant. Anthes’ finest image may be one from eastern Colorado. It features a gently undulating field of grasslands under a mesmerizing sky in shades of blue; against this elemental pairing, a long piece of irrigation equipment jumps and snakes backward into the frame, providing a bracing sense of three dimensionality. Gary Anthes’ Dust and Destiny on the Great Plains runs through Oct. 26 at Studio Gallery, 2108 R St. NW. Wednesday through Friday 1 to 6 p.m., Saturday 11 a.m. to 6 p.m. studiogallerydc.com. Free. —Louis Jacobson”

Review by Louis Jacobson, Washington City Paper, October 2024. Thank you!

Art Heals: The Value of Art Therapy

For many, the value of art is dependent on the joy it brings the viewer. What, if any, is the value of art for the creator? There have been many discoveries that reveal the act of creating art is just as beneficial to the artist as it is to the viewer. In fact, using art to express oneself benefits the individual so much, it can be used as a therapy tool. 

Art therapy is a creative therapy technique that has proven the importance of creative expression. Creating art allows people to work through emotions that might be difficult to express otherwise. Art therapy can be used on people of all ages and backgrounds, and is found to play a significant role in understanding children with autism as well as helping to treat them (Smith). Art therapy is a wonderful tool that many people from varying demographics can benefit from. Curious to learn more, I interviewed Minda Glynn, a former art therapist turned education specialist. 

When asked to touch on her personal relationship with art, Glynn reveals her life long love of painting and drawing.  What began as painting on walls in her youth has shifted into taking painting classes at her local college as an adult. Glynn, as most creatives do, wishes she had more time for making art. 

Her progression into art therapy was a natural one, as she was drawn to psychology and studio arts in college, and chose to major in both. Once graduated and looking towards next steps, Glynn felt that art therapy made a lot of sense. She spent time working as an art therapist in a domestic violence shelter, where she used art therapy with mothers and children as young as three and four.  There was no specific medium Glynn used more than another, rather she carried a supply of materials that ranged from controlled to free form, depending on the client's preference. 

Glynn’s experience speaks for itself, which is why I was eager to ask her some specific questions regarding her time as an art therapist. Below, you will find a couple of the interview questions and responses that are definitely worth the read. 

Do you view art therapy as something everyone can benefit from?

“So many people can benefit from being able to express themselves and work through conflict in ways beyond words. The process of making art, in itself, is inherently a therapeutic one, as we gain access to and sublimate difficult feelings. In a therapeutic relationship, it can also be a means to express the “unspeakable.” Often it does lead to talking through problems, as well.”

How drastic of a change in behavior was there usually from start to finish of art therapy?

“As in any therapy, people can really learn and grow. For example, I watched one student find her voice and stand up for herself. I supported another as he revealed abuse. I helped another to develop a “maternal introject” and feel a sense of  social right-and-wrong. In big and small ways, clients experienced self-actualization through the process.” 

Are there certain colors used more often? If so, do these colors have a specific meaning? 

“Colors and images can have specific meanings to different people, but sometimes there is a sense of a shared meaning. Clients often used blue, sometimes covering a whole page. I thought that I and/or the therapy room might have had a calming presence.”

How do you engage with clients who are less comfortable with creating art?

“When clients are less comfortable with art, I would “align with their defenses.” In other words, I would suggest art that lets them feel guarded and in control. For example, some kids would make a word design. Others would literally draw a brick wall, showing visually how closed they felt.”

Has there been one art therapy experience that has particularly stuck out to you?

“There are a few. One child lost his mother to cancer and lived with his brother, in his young twenties, in NYC. The brother was often out and the child did not feel cared for. He was engaging in behavior that might be seen as anti-social. Harming animals, lighting fires, and expressing no sense of remorse when he was mean to others. Through the art, he began to express both his anger and his emotional hunger. For example, out of clay he made a monster with a huge mouth: both hungry /open wide, and dangerous/full of teeth. By accepting and “holding” all of his feelings, the art became a transitional object that he could return to, and this helped him to understand and accept. He started making different choices- He told me that when was going to hurt a pigeon, he remembered what we talked about and made a different choice.”

Hearing the positive impact Glynn was able to make on so many people speaks to not only her impressive ability to connect with others and aid them in their journey of self acceptance, but also to the importance of art therapy as another tool to help process difficult events and emotions. 

 
 

Written by Staff Contributor Avery Canavan

 

Cited Resources:

Smith, Colleen. “Neuroaesthetics: How Art Is Scientifically Proven to Help Brain Health.” Art and Object, 27 Feb. 2023, www.artandobject.com/articles/neuroaesthetics-how-art-scientifically-proven-help-brain-health#:~:text=An%20art%20break.-,%E2%80%9CArt%20can%20create%20new%20neuropathways%20in%20the%20brain%20because%20this,our%20brain%2C%E2%80%9D%20she%20added.