Joan Belmar's "Color Transparancies" opened on Thursday evening, May 24, to an enthusiastic audience. Guests were very taken by Belmar's dimensional compositions of Mylar, acetate, pigment and found objects.At left is "Compression," the largest work in the exhibit (47"x 38").
The artist's use of circular and curvilinear shapes in his compositions gives them a meditative feeling that invites individual intepretation. Belmar gives the pieces ambiguous titles so as not to hinder interpretation. The circles appear to some like bubbles, or yantras or tissue cells under the microscope.
See the detail from "Crash" below, right, as an example of this. The effect can seem exuberant, solemn and even sublime. This piece is from the artist's "artifacts" series. The main element, appearing in the lower center of the piece, is a flattened side view mirror from a car that is
missing most of its glass. What remains of it looks like little bits of sapphire still imbedded in the rusted ore of the mirror's casing.
missing most of its glass. What remains of it looks like little bits of sapphire still imbedded in the rusted ore of the mirror's casing.
Thanks also to other stalwart supporters of the local arts scene, including the Current Newspapers, the Washington Blade, and the Washington Post Express, as well as veteran DC art guru Lenny Campello and his electronic Mid Atlantic Art News and noted local artist/blogger Anne Marchand and her Painterly Visions blog. We are sorry not to be able to provide links to the Current, the Blade or the Express (which we looked at in hard copy), but we applaud their efforts to expand the coverage of gallery happenings in Washington, DC and surrounds (and always encourage the other print media to do the same--can they ever do enough??)
For those who missed the party, a few shots follow (Joan Belmar is in the center of the first photo below):
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