Closing Reception: Saturday, March 23 from 3-5 pm

See highlights from Touchstone Gallery’s newest artists: Deb Furey, Maryam Rassapour, Sue Canuteson, Carolyn Marshall Wright, Yoshiko Ratliff, Jonathan Fuentes, Jazz Williams, and Brittany Mona’.

Opening Reception: Thursday, February 13 from 5-7 pm

Closing Reception: Monday, February 17 from 3-5 pm (Presidents’ Day)

Echoes of Tomorrow explores the connections between the memory and anticipation of artistic expression; it explores how we can see the future within our present art, blending foresight with nostalgia. Jurors Jonathan Fuentes, Cathleen Gavin, and Charmaine Mapp selected artworks by student artists ages 14-22.

Selected Artists: Abigail Adams, Carmen Ashworth, Ryan Barna, Katelyn Blanford, Rachel Cara, Callaghan Cavanaugh, MC Daubendiek, Junis Fletcher, Jasmine Hall, Lisa Lee Junior, Rebecca Karabin, Reyna Kendal-Cole, Erin Kilgore, Emma Kimmel, Ava Martin, Ash Newton, Awa Nyangado, Ruhi Parakh, Addison Philippe, Lauren Tao, Chace Thompson, and Jordan Tovin.

The District 51 Art Show highlights 51 of the incredible living and working artists who have shaped, inspired, and impacted the dynamic cultural scene, both past and present. This exhibition honors the vibrant creative landscape of the District of Columbia, and champions the local artistic community.

Artists were selected by a panel of three jurors: Caitlin Berry (Irene and Richard Frary Gallery Inaugural Director), Nehemiah Dixon III (Phillips Collection Senior Director for Public Programming and Community Engagement), and Anisa Olufemi (Curator and Hamiltonian Artists Fellowship Manager).

• Extended Hours: Thursday, January 30 from 5 - 8 pm

• Extended Hours: Wednesday, February 5 from 5 - 8 pm

• Teen Night: Friday, February 7 from 6 - 9 pm

• Closing Reception: Saturday, February 8 from 6 - 9 pm

Selected artists: Abol Bahadori, Addie Moore, Aeyesha, Amira, Anne Bouie, Ayomide Omobo, Brittany Mona’, Caroline Battle, Cathy Abramson, Ceci Cole McInturff, Chris Combs, Christopher Buoscio, Connor Czora, David Salgado, Deborah CC LaCroix, Donna Coleman, Dorothy Hickson, Elaine Florimonte, Elaine S. Wilson, Ellen Delaney, Esperanza Alzona, Genie Ghim, Helen Zughaib, Holly Harris, Jacques Liautaud, Javaid Nayyar, JFlowart, Joy Nutt, Ju Yun, Leslie Landerkin, Maluchi, Miriam Julianna, Neville Barbour, Nguyen Cao Nguyen, Patricia D Burns, Patricia Goslee, Paul Zapatka, Rashad Ali Muhammad, Rosa Ines Vera, Samuel S. Hernandez, shelley lowenstein, Stephen Voss, Susan Jarvis Ragland, Trei Ramsey, Vanessa Villarreal, Vicky Zhou, Vivian Cavalieri, Yasmine Posey, Yosef Abraha, Xuejiao Zhu Milhouse, and Zofie King.

Opening Reception: Saturday, December 7 from 2-5 pm

Closing Reception: Saturday, January 4 from 4-7 pm

Fig Leaves is a collection of oil paintings that depict male statues from Anderson’s travels and museum visits. The title Fig Leaves is a playful reference to the practice of using fig leaves to cover nudity in figurative work, which became common starting in the 1600s and can be seen on several of the statues she painted in the exhibition.

In these works, she explores how the human body is used in art, design, and decoration—including the role gender and attraction play in figurative art and how uniform stylization and idealization are used for utilitarian purposes. While this work is figurative in nature, ultimately they are paintings of objects. Her paintings depict shaped stone, wood, and metal, not living flesh bodies.

Opening Reception: Saturday, December 7 from 2-5 pm

Closing Reception: Saturday, January 4 from 4-7 pm

In Blessings in the Gray, Neville Barbour reflects on his feelings of uncertainty while growing up in a rapidly gentrifying DC. Using charcoal and mixed media portraiture, he explores how this ambivalence affected his experiences with race, religion, and gender. Blessings in the Gray is an attempt to process these moments. 

The acrylic and oil paintings of Ex Montibus Salus (Latin for all good comes from the mountains) have a compositional and thematic focus on the upper regions of mountains, in the snow accumulation zones. It is in these zones that compressed snow and ice form the glaciers that eventually feed the lakes, rivers and creeks. The works depict the most changeable parts of the topography; above the tree line, with fragile textures of airy snow and sharp multifaceted blue shadows among massive blocks of ice.

Solid and ephemeral at the same time, Wallar uses her own photographs as a source of information for the paintings; extrapolating and animating the imagery for the compositions. “The earliest mountain paintings date to when I was in my mid-twenties living in Switzerland, depicting mountains because of the visual and spiritual appeal,” says Wallar. “Now, the imagery also refers to an existential dilemma.” Changes in the climate and environment are imperiling the mountain glaciers’ mass balance—altering landscapes and affecting water sources and other fundamentals of life.

Call for Sweet Water is a collection of encaustic abstract waterscapes that delve into the interplay of color, form, and visual texture. Stine creates her work by painting layers of mixed media and encaustic beeswax onto a wood panel, then fuses each individual layer with a blowtorch. Using vivid hues and dramatic textures, she interprets the serene yet dynamic essence of water, offering viewers an immersive and contemplative experience.

Stine chose the title Call for Sweet Water, taken from one of Shakespeare’s plays, to bring attention to the rejuvenation and conservation of our waterways. She states: “As a native of the DMV area, I am deeply inspired by the natural scenery that surrounds me. This passion for nature combined with my love of the unpredictable qualities of encaustic, inspire me to push my imagination and creativity.”

A Touchstone Artist group exhibition featuring works by more than 30 artists.

Amy Sabrin’s abstractions evoke the sensations, experiences and colors of her free-range childhood summers, spent roaming the sea, bays and streets of a beach town. Each work, though nonrepresentational, is inspired by a personal recollection. The sun-faded color palettes conjure up the colors of the Atlantic Ocean, sea glass, sun-bleached clothing, and the interior of the mid-century modern beach cottage where she lived.

Using acrylic paint, markers, mixed media and collage papers that the artist printed herself, she gently abrades the surfaces of her works to call to mind the weathered wooden boards of a walkway to the beach. “I was so fortunate to have spent my first 18 summers living in a beautiful natural setting where I could spread my wings, learn what I was capable of, and experiment with who I wanted to be,” Sabrin explains.  “In this series of paintings, I set out to capture that expansive feeling, as well as to celebrate the people and places I love.”

The paintings of A Little Beach Music are a visual love song to the beach. About half of the artworks were painted in 2024, while the others are a highlight of Williams’ favorite beach paintings from previous years—exploring the intersection of sand, sea, and sky. “Like the ocean, which is ever changing and ever the same, these paintings reflect my changing interests and artistic abilities as well as my unchanging fascination with watercolor and the beach”, says Williams.

This innovative body of work explores the concept of cross-pollination between various artistic mediums, masterfully integrating ceramics, textiles with botanical dye, collage, and sculpture into a cohesive and vibrant presentation.

Cross Pollination features raw silk that has been dyed with garden flowers and meticulously hand-stitched into bas-relief sculptures. Ceramic tiles dipped in indigo and interwoven with thread to create a dynamic matrix of color. Meters of twine are dyed and elegantly draped to cascade to the ground, adding a sense of fluidity and natural grace.

Cora describes her inspiration for the exhibition, stating, “Wind blows pollen from one flower to another and a new plant appears that is more colorful–or is different in a very small way. Perhaps it releases a new fragrance that was previously unnoticeable.” Further reflecting on the collaborations between her mediums she says “there are no disparate studios of paint, sculpture, or printmaking. It is one joyful morning of pollen, bees, and color bending to the breeze.”

Reception: Saturday, August 24 from 3-5 pm

Featuring Artists: Adam Opou, Cyrille Bokotaka, Jacques Iloki, Pascaline Makoundou, Sylvestre Mangouandza, and Yves Mokomba.

This Touchstone Foundation for the Arts sponsored exhibition is in partnership with Moyi Arts Concept. Established in 2022 by Senior Congolese Diplomat and Georgetown University alumni Sarah Marie-Chantal Andely, Moyi Arts Concept is an arts company registered in both the Republic of Congo (Congo-Brazzaville) and the United States of America that delivers Congolese fine arts and crafts to the world.

The goal of Moyi Arts Concept is to share the unique talent of Congolese artists with the world through arts exhibition, cultural debates and promotion of other artistic talents within the diaspora.

The company holds a wide range of rare paintings, sculptures and authentic artifacts obtained at the prestigious National Painting School of Congo (Painting School of Poto Poto) which are available for sale, arts exhibitions, cultural fairs, and other social events.

By promoting the cultural wealth of the Republic of Congo, Moyi Arts Concept hopes to attract tourism to the Republic of Congo and propel our gifted artists on the reputable international scene. The artists featured in Touchstone Gallery are all based in the Republic of Congo.

Fête 48 is an exhibition and party celebrating 48 years of Touchstone Gallery.

Each ticket includes:

• One 12" x 12" original piece of art, created by one of Touchstone Gallery's 48 member artists. Artworks will be selected by the attendee, with the order of selection determined by random draw

• Admission for two to the Fête, our art party

• Complimentary wines, beers, and a signature cocktail (+ zero proof beverages)

• Light hors d'oeuvres and desserts

• An additional custom art favor

Suggested Fête attire is summer cocktail fun, but please dress as you wish!

If you would like to participate in artwork selection but will not be able to attend the event in person, please email abbey@touchstonegallery.com for more information.

Patterns and repetitive elements, integral to the art and design of countless cultures and artistic methods, offer viewers a framework to interpret information through recurring arrangements. How do these elements shape perception of art and the world?

This open call solicited artwork that embraces pattern and repetition as the focal point, a complementary element within a piece, or as a fundamental part of the creative process. From symmetrical arrangements, geometric precision, minimalist repetition, and organic flows, Iteration Reiteration honors the power of patterns.

This exhibition will includes both a physical gallery show located in Washington, DC and a virtual exhibition. The opening reception will be on Thursday, August 1 from 5:00 - 8:00 pm. A juror discussion will take place on August 11 at 2:00 pm via Zoom.

The jurors for Iteration Reiteration were Roya Amirsoleymani, Addoley Dzegede and Christopher Kardambikis.

Selected Artists: Andrew Chalfen, Anice Hoachlander, Anne McInnis, Anne Stine, Anthony Nsofor, Barry Goldstein, Behrouz Vatankhah, Beth Nogay Carenbauer, Brandin Barón, Charlene Nield, Chris Combs, Craig Cramer, Corey Drieth, Corinne Diop, David Salgado, Deb Almond, Debra Disman, Gaylia Wagner, Gregory Little, Hernan Murno, Ira Upin, Jacques Liautaud, Jane Powers, Javaid Nayyar, Jenee Mateer, Jeanne Lauziere, Jenny Price Corder, Jenny Singleton, Jim Burwinkel, Joy Nutt, John Chamberlin, Karen Larson-Voltz, Kathryn E. Martin, Katelin Hiller, Kelly Irvine, Leigh Lambert, Lesley Clarke, Lisa Sheirer, Lyn McCormick, Marcel Artes Deolazo, Mark Armbruster, Mary Anne Hensley, Neal Cox, Patricia Edwine-Poku, Peggy Black, Rosa Ines Vera, Ryan Lewis, Sam Modder, Sara Tack, Shahrzad Heyat Jalinous, Shari Werner, Shelley Lowenstein, Stephen Manger, Sufie Berger, Suzanne Keith Loechl, and Tara Barr.

Explore a group exhibition of artworks from more than 30 Touchstone artists exploring texture and dimension in their works.

The Jaye Williams Product Line For Men by Ashley Jaye Williams is a collection of works that explores objectification and capitalism through sculpture, paintings, and video. Extrapolated from the artist's own negative lexicon of life experiences, these sculptures and paintings are reimaginings of the gender, beauty, and social standards that constrain women.

The exhibition focuses on the contrast between visual “worship” and dehumanization. Williams asserts “the physical forms we objectify are not always treated with respect. Just because something has a viewer’s visual attention does NOT mean that it has their respect. Objectification of another human is often labeled as idolization, complimentary, kind, and even regarded as flattering when in reality it is publicly degrading, disrespectful, emotionally taxing, and frightening to experience.”

This is the third and final exhibition was selected from a Touchstone Foundation for the Arts call for exhibition proposals, juried by Allison Nance, Managing Director of The Nicholson Project and Tim Wright, Founder of Attucks Adams; museum educator & historian.

Ashley Jaye Williams is a multidisciplinary artist working and living in Washington, DC. They work primarily with fine art, murals, sculpture and art installations, but also have experience in traditional animation, fashion, performance art, video, and printmaking. Williams has created art for the Women’s March, DC Public Schools, Commission for the Arts & Humanities, Broccoli City music festival, the Annual Roots Picnic, Long Live Go-Go, DC Vote, Culture House, and many other organizations.

A Touchstone Artists group exhibition featuring the celebration of color!

Paintings and poems keep company with mixed media sculptures in Rosemary Luckett’s solo exhibition Nature Icons: Masks of the Great Face Behind. She returns her exploration of the ways in which humans try to make unseen forces seen; this time by exploring a kinship with Alaskan Yup’ik masks and storytelling tradition.

Luckett fuses together fragments and materials into mask icons, collages, or paintings. During this process of discovery, she finds the unseen in each art work and titles them accordingly. The artworks in Nature Icons attempt to uncover the creative life force in the living flora and fauna, native to the hardwood forests and waters in her part of this living planet Earth. Like the Yup’ik practices, her sculptures and paintings are prayers of gratitude for life, as well as a summons to restore to the planet what humankind has taken from it.

This group exhibition invites viewers to embark on a visual odyssey of experiences, explorations, and discovery. Through a variety of media, color, texture, and emotion, participating artists invite viewers to join them on physical adventures, metaphorical quests, and personal evolution.

Participating Artists: Brianne Anderson, Linda Bankerd, Neville Barbour, Sufie Berger, Valerie Bernat, Jill Brantley, Dana Brotman, Marcia Coppel, Tory Cowles, Susan Dykeman, Connie Elsberg, Elaine Florimonte, Chris Tucker Haggerty, Robin Harris, Harvey Kupferberg, Mary Lagnaoui, Michael Lang, Dee Levinson, Rosemary Luckett, Sharon Malley, Marthe McGrath, McCain McMurray, Hernan Murno, Mary D. Ott, Debra Perkins, Setareh Pourrajabi, Amy Sabrin, Janathel Shaw, Jenny Singleton, Anne Stine, Elena Tchernomazova, Rosa Ines Vera, and Patricia Williams.

A selection of works from Touchstone’s four newest artists: Veronica Barker-Barzel, Lesley Clarke, Anice Hoachlander, and Susanne Tabet.

Charlene Nield’s latest exhibition, Persons of Interest, is a series of paintings with mixed media elements that challenge the conventional notions of portraiture. In these works, Nield returns to the space between—a place between the seemingly ever increasing stress of life and the high  drama of the world. Within this enigmatic realm, she uncovers a captivating interplay of light and whimsy; drenching her paintings in vibrant hues and patterns that exude joy, with the intent to honor the beauty of everyday moments.

Left faceless, Nield intentionally blurs the lines of gender, race, and ethnicity to invite viewers to immerse themselves in the artistic process. Nield states “I am encouraging visitors to mentally envision and paint the final strokes. It is an act of co-creation; to spark an internal dialogue and become an active participant in shaping the narrative of each piece.”

Press Information

McCain McMurray's exhibition, La Côte d’Azur, is inspired by his artist residency in the small town of Vallauris, France; situated between Canne and Antibes along the coast of the Mediterranean. The works are vertical landscapes that reflect the sun-bleached colors of the coast and sea, as well as the ochres and grays of the nearby hill towns.

McMurray’s work is about capturing the ethos of the natural and constructed world in its most fundamental forms. Some pieces were created by brushing or squeegeeing over unprimed canvas, while others are developed with multiple layers of paint.

In the pieces featured in La Côte d’Azur, long vertical forms serve as a slice through an immersive experience. The pieces create essays on places or memories—going beyond making pictures of something to define the essence of space and experience.

Lines in Country, a photography exhibition by Tom McMurray. This series of aerial photographs, taken from helicopters over an 18 month period in North West Australia, takes inspiration from 30,000 year old rock art and contemporary aboriginal artwork to reflect the underlying majesty of land that is constantly under threat.

This exhibition is part of a larger effort to raise awareness and protect the Kimberley and Pilbara regions. McMurray was part of a team of photographers and filmmakers that documented the lives of five people and told their stories of protecting a way of life in Keeping Country, a documentary film. For the film’s subjects, Country is defined as a sense of belonging and identity that is deeply spiritual and forms the basis of their belief system and connection to their ancestors. The story of the documentary film can be seen at www.keepingcountry.com.

An artist talk will be held on Saturday, April 6 at 3:00 pm.

The artist would like to acknowledge that Lines in Country was produced on Aboriginal land and recognize the strength, resilience and capacity of Aboriginal people in this land.

See works in this dynamic group show, including four new Touchstone artists: Veronica Barker-Barzel, Lesley Clarke, Anice Hoachlander, and Susanne Tabet. On view at Touchstone Gallery through March 30.

For information about any of the pieces, email info@touchstonegallery.com.

Mythos and Nature: Exploring the Mystical Connection by Teresa Oaxaca is a Touchstone Foundation for the Arts (TFA) sponsored exhibition. This collection of oil paintings delves into the captivating realms of mythology, ancestral belief systems, and the intricate relationship between humanity and the natural world. Through sophisticated details, rich colors, and a high decorative style, viewers are invited to immerse themselves in a visual narrative that evokes a sense of wonder and contemplation.

Each painting invites viewers into a world where mythological figures come to life, revealing stories of gods, heroes, and mythical creatures. Drawing inspiration from various mythologies, including Greek, Biblical, and indigenous traditions, Oaxaca explores the universal themes and archetypes that have shaped our understanding of the divine and our connection to nature.

The paintings in this series are infused with symbolism, inviting viewers to interpret and engage with the deeper layers of meaning. By incorporating elements of nature, such as trees, flora, fauna and landscapes, Oaxaca aims to emphasize the inseparable relationship between mankind and the environment—encouraging reflection on the human role as steward of the natural world.

This exhibition was selected from a TFA open call for exhibition proposals by DC-area artists, juried by Allison Nance, Managing Director of The Nicholson Project and Tim Wright, Founder of Attucks Adams; museum educator & historian.

The main body of work in Shapes and Colors experiments with cold wax, oil paints, and how they can be used together to the best advantage. The nature of the combination, which is slow drying, allows Kerxton to scratch through to layers below—adding hidden colors and interest to the finished painting. Since her last solo exhibition in March 2022, she has stepped outside her typical style and experimented with more organic shapes, using Gessoed paper, line drawing, and acrylics.

Growing Pains is a juried student art exhibition that encouraged student artists to submit work that explores ideas revolving around themes of growing up and experiencing childhood, adolescence, and adulthood. How much can a person transform throughout these years? How are we the same? How are we different? How do we metamorphose? 

Featured artists: Erick Buendía, Melissa Cho, Arwen Clemans, MC Daubendiek, Fallon Geisler, Gabriela Gutierrez, Alara Kaplanoğlu, Ava Martin, Mei Matute, Emmy Numann, Ruhi Parakh, Camille Perry, Lily Raines, James Shelton, Charlie Sisson, Danielle Towers, De’Azia Washington, Carolyn Watson, Lo Younge, and Kaiden J. Yu.

A reception will be held on Saturday, February 24 from 3-5 pm.

Growing Pains jurors were:

• Alicia Perkovich, NMWA Public Programs

• Daryle Locko, National Gallery of Art Retail Programs & Touchstone Gallery Assistant

• Julia Canora, Artist and Touchstone Gallery Curatorial Intern

Image: The Portrait of a Mother by Gabriela Gutierrez