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PAUL SO letter
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AMANDA JIRÓN-MURPHY foreword
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HIGHLIGHTS
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H A M I LTO N I A N F E L LO W S :
A N TO N I O M CA F E E ELLEN XU H E AT H E R T H E R E S A C L A R K H E L I N A M E TA F E R I A KYLE BAUER PAT R I C K H A R K I N RACHEL GUARDIOLA RIVES WILEY M A G A L I H É B E R T- H U O T PAO LO M O RA L ES
12–71
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BOARD MEMBERS
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N I C O L E E S PA I L L AT message
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LE T TER
PAUL SO (Founder)
One of the most commonly asked questions I receive is why did I choose to name my organization Hamiltonian? The Hamiltonian is a historic building built by a retired African American Army colonel named West Hamilton. In addition to his military services in two World Wars, he also served on the D.C. School Board for over two decades making significant contributions to the D.C. public schools both between the wars (1937–1942) and in the turbulent years (1952–1967) when D.C. public schools were desegregated. It is my belief that any successful organization must have a linkage to the past and the community that it serves. The preservation of the Hamiltonian building and the educational role Colonel Hamilton had in the community is what influenced my decision to use his name for a fellowship program providing professional development assistance to emerging artists ten years ago.
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In studying any physical system, a mathematical object called the Hamiltonian is the key quantity that one needs to define in detail. The Hamiltonian describes the total energy of the system and its “generator” in determining the future evolution of the system. With the Hamiltonian given, the Hamilton Equation gives the optimized path of motion for a system among all possible paths in time. With a Hamiltonian being the necessary foundation in projecting the future trajectory for any physical systems seems appropriate to use it as an analogy for the mission of Hamiltonian Artists. Hamiltonian Artists is committed to providing professional exhibition and development opportunities to all artists. It is our hope that each fellow's creative energy will challenge their audience and go beyond
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Paul So
Hamiltonian Artists
the immediate confinement of the art gallery and museum. As teachers, designers, and consultants, in addition to being an artist, they will help to inspire others, open minds, and contributes to the well-being of the collective creative economy. It is my wish that Hamiltonian Artists can be like the physical Hamiltonian for the continuing growth of the art community in Washington D.C. and beyond.
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F OREWORD
AMANDA JIRÓN-MURPHY (Hamiltonian Gallery Director) 6
At Hamiltonian, we frequently think about our program as an open door: every year, we welcome five new voices into our space and see what happens. As a result, there has never been two years alike. Contemporary art, like life, is a constantly evolving organism, and, if art imitates life, then the artists who form the Hamiltonian classes should follow suit. It is our hope that these artists reflect the zeitgeist and hit a nerve with audiences that feel resonant and timely. 2018’s class did just that. In one of the most fraught political climates in America’s recent history, the 2018 class of artists put on exhibitions that addressed a range of topics that dominate contemporary life. Artists Antonio McAfee and Helina Metaferia exorcized ghosts that haunt American culture well into the present day, namely America’s dark, slaveryladen past (“Old Bad Air”) and Western art history’s omission of people of color within the canon (“Refiguring The Canon”). In “Harm Reduction” and “Along A Line”, Patrick Harkin and Heather Theresa Clark employed sound, kinetic sculpture, ice and beeswax into two site-specific installations that urgently addressed climate change, while Rachel Guardiola and Magali Hébert-Huot invited audiences to fantasize about post-apocalyptic utopias. In HébertHuot’s “Les Grandes Étendues”, survivors hunt and gather trees for sport, and in “A Hand Without A Horizon Is Taller Than Its Other”, they and act as guardians of organic life, scientifically pollinating plant varietals that teeter on the brink of extinction. Other artists chose a lighter approach to subjects close to home. Kyle Bauer’s homage to his American roots was on full display in “At Hand” which saw
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Hamiltonian Artists
the sculptor put forward his inimitable woodworking skills, raw and vulnerable. Rives Wiley humorously satirized the fallacies of the wellness industry in “How To Be Photo-Synthetic”, and Ellen Xu managed to pull our heartstrings while simultaneously confounding us completely—what is reality and how do we define it?—in “Chimerical”. All of these artists took huge risks by laying bare their vulnerabilities, and in so doing, made work that spoke directly to larger ideas about the complexity of being human. The personal is always political. If there is anything I can guarantee about the year ahead, it’s that the work will continue to surprise us, challenge us, and leave us in awe. The artists that comprise the Hamiltonian Fellowship consistently set the bar high for themselves and the art world that they contribute to, whether in craft, ambition or concept. As Gallery Director, I am humbled that I get to spend the year working hand in hand with such special people and that together we are able to create experiences that people will remember for years to come. It takes heart, courage and lots of hard work to achieve such a feat, but it is always worth it. Here’s to the artists of the Hamiltonian program, and to another memorable year in the creative life.
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Amanda Jirón-Murphy
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HIGHLIGHTS
N E W. N O W. 2 0 17
We received an impressive and competitive pool of 158 applications for the 2017–2019 Hamiltonian Fellowship Program. New. Now. 2017 introduced work by our five new fellows: HEATHER THERESA CLARK (MS, Massachusetts Institute of Technology) PATRICK HARKIN (M F A, Virginia Commonwealth University) ANTONIO MCAFEE (M F A, University of Pennsylvania) HELINA METAFERIA (M F A, School of the Museum of Fine Arts at Tufts University) ELLEN ( JING ) XU (M F A, University of
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Washington)
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The Hamiltonian Gallery
2018
was invited to present work by former Fellow and Photographer Kyle Tata at VOLTA NY during Armory Week. Tata is a Los Angeles, CA based artist. His work has been featured at galleries and institutions such as the Walters Art Museum
Hamiltonian Artists
VO LTA N Y A R T FA I R
( Baltimore, MD, 2014 & 2017 ), Hamiltonian Gallery ( Washington, DC 2017 ), The International Print Center (New York, NY 2013), Spudnik Press & Gallery (Chicago, IL, 2014), Silvermine Arts Center (New Canaan, CT, 2014), His artist books are held in the collections of the Los Angeles County Museum of Art (Los Angeles, CA), The International Center for Photography (New York, NY) and the Indie Photobook Library
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(Washington, DC).
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HIGHLIGHTS
2018 F E L LO W S C O N V E R G E R E T R E AT
Every year, Hamiltonian
– S C H O O L O F T H E A LT E R N AT I V E
participates in a summer
( S U M M E R 2018)
weekend retreat leading up to an annual Fall exhibition called Fellows Converge. In an effort to further expand our fellowship engagement, Hamiltonian invites a guest curator from an organization outside of DC region. In the past, our invited curators have provided weekend retreat experiences and curatorial vision for our exhibition. This annual weekend retreat, Hamiltonian visited the School of the Alternative, an experimental school located in Black
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Mountain, N.C., U.S.A.
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RECEPTIONS
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A N TO N I O M CA F E E
Antonio McAfee is a photographer based in Baltimore, MD. He received his B F A in Fine Art Photography from the Corcoran
Operating with photography and collage, Antonio McAfee ’s work addresses the complexity of representation. Through appropriating and manipulating historical portraits, he engages in prescribed views of individuals and rework images to provide an alternate —more layered image and concept of the people depicted. His photographs oscillate between formal considerations ( modifying the print ’s surface ) and imaginary potential ( establishing new roles ) of the photographed sitter.
College of Art and Design. Shortly after, he earned his M F A in Photography from the University of Pennsylvania. In 2011, he received a PostGraduate Diploma in Arts and Culture Management from the University of the Witwatersrand ( Johannesburg, South Africa ). His fascination with history, portraiture, and what makes up photographs drives his activities. McAfee has been featured in BmoreArt Magazine, The Washington Post, Washington City Paper, The Philadelphia Inquirer, Mission on Tenth published by California Institute
Throughout all McAfee ’s work, the primary concern is to depict visual and physical transformation, in which the superficial read of him and others are abstracted to render it unstable. This is an attempt to encourage a layered and tangled relationship with whom and what is visually offered. One way he addresses prescribed assumptions are to use
of Integrated Studies, and
historical narratives and portraits. Through using appropriated sources, there is a basis for understanding particular ideas and stories that are passed down and sustained.
to Johannesburg, South Africa,
catalogues published by the University of Pennsylvania and Corcoran College of Art and Design. He participated in residencies at Can Serrat ( Spain ) and Vermont Studio Center. Antonio was awarded Maryland State Individual Artist Award, Civil Society Institute Fellowship, Fulbright IIE Grant and Dedalus M F A Painting and Sculpture Fellowship. His work has been exhibited at the Academy Art Museum, University of Maryland College Park,
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George Washington University,
The source of the artist’s current portraits is The Exhibition of American Negroes organized by W.E.B. Du Bois, Thomas Calloway, and Historically Black Colleges for the Paris 1 9 0 0 International Exposition. The exhibition was a photographic, economic, and legislative survey of middle-class blacks in Georgia.
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Corcoran Gallery of Art, Civilian Art Projects, and Terrault Contemporary. Antonio is currently an instructor at American University.
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Making and Unmaking ( details ), Acrylic medium and pigment ink, Dimensions variable, 2018
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Hamiltonian Artists ( top left )
Making and Unmaking, Acrylic medium and pigment ink, Dimensions variable, 2018
( bottom left )
Mamie Westmoreland ( on the left ), Digital C-print 3D image with 3D glasses, 24 × 36 in., 2016 ; General ( on the right ), Digital C-print 3D image with 3D glasses,
( this page )
Making and Unmaking ( detail ), Acrylic medium and pigment ink, Dimensions variable, 2018
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24 x 36 in., 2017
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Oval #3, Digital C-print, 24 x 36 in., 2017
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Oval #6, Digital C-print, 24 x 36 in., 2017
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ELLEN XU
Ellen Xu was born in Inner Mongolia, China. She holds a BA in Sculpture and Law from Xiamen University in Xiamen, China, and an M F A in Photomedia from the University of Washington in Seattle. Her work has been written about in The Seattle Globalist, The Seattle Times, The Jake Journal at the Jacob Lawrence Gallery, and Vanguard Seattle. She
I am a multidisciplinary artist from Inner Mongolia, China. I utilize video, sculpture, drawing, murals and interventions to explore gender identity and the boundaries between Chinese and Western art fields, as a way of seeing how thoughts and feelings refract through these different lenses. My artwork is characterized both by labor and humor. My practice explores the notion of how stereotypes within a system can be redefined through the application of certain actions, performance, and imaginative play.
has participated in several art residencies including Skowhegan School of Painting and Sculpture, The Kimmel Harding Nelson Center for the Arts and Vermont Studio Center. Her work has been exhibited in several group and solo presentations including V S C / V C F A Alumnx Exhibition, Vermont College of Fine Arts, Montpelier, VT ( 2018 ); Governors Island Art Fair, NY ( 2017 ); B R IC Media Arts Fellows Screening Exhibition, B R IC, Brooklyn, NY ( 2017 ); Nasty Women, Knockdown Center, NY ( 2017) and Et Tu, Art Brute, Andrew Edlin Gallery, NY ( 2017).
My goal is to displace and discombobulate the viewer—to place them in my head and give them a first-hand experience of this process.
Xu was the winner of the Best Student Experimental Short in the Roselle Park Loves Shorts International Film Festival ( 2016 ) and completed the B R IC Media Arts Fellowship with the B R IC
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Program in 2017.
Sometimes, I am a collaborative maker ; I do this because for me, thinking is feeling. I am trying to find the “right outfit ” for my ideas. I am interested in using art as tool to share my thoughts and life experience with the audience. Art is both the way I process the world internally and the way through which I’m best equipped to communicate my ideas with the external.
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Hamiltonian Artists 7:00 min. ( loop ), 88.75 x 100 in., 2017
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Samsara, Soft sculpture, found objects, googly eyes, wood, stickers, colored ink, HD video, sound,
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Samsara, Still from video, HD video, 7:00 min. ( loop ), 2017
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( bottom ) Chimerical ( detail ), Hand-drawn puzzles, clay bust made of modeling clay, 47 x 95 x 26 in., 2018 ( top right )
Partner, Still from video, HD video, 5 :41 min. ( loop ), 2018
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ELLEN XU
( background ) Partner ( installation view ), 2018
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H E AT H E R T H E R E S A C L A R K
Clark approaches art making as a planner, green developer, and ecologist. She holds a Master of Science in Real Estate Development from the Massachusetts Institute of Technology, School of Architecture and Planning, and a Bachelor of Science from Cornell University, summa cum laude, in Environmental Science and Community Planning, a self-designed major. Clark is a Hamiltonian Fellow, the 2016 recipient of the Virginia Commission for the Arts Sculpture Fellowship Award, and the 2017 Artist-in-Residence at the Woods Hole Research Center, a leading global climate change think tank. Her artwork has received the National
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Heather Theresa Clark was born in Boston, MA. She utilizes art, architecture, public interventions, and sensory experiences to play on what she calls cultural neurosis : the human tendency to over-consume, over-build, over-groom, etc. in lieu of direct physical exertion to ensure survival. She views this as a misdirected attempt to satisfy basic primal urges for shelter, food, clothing, and social relationships in a society where actions are grossly amplified because one gallon of gasoline equals five hundred hours of human work output. Clark is interested in how environmental crisis affects us personally and
Endowment for the Arts Our Town Award and the Americans for the Arts: Year in Review Public Art Award. Clark’s work has been reviewed in the Washington Post, Sculpture Magazine, Public Art Review, and many international design and art blogs. Clark is also founder of Biome Studio, a design / development practice that aims to catalyze built environments that power themselves, cleanse themselves, transform waste, provide wildlife habitat, produce food, and enhance the lives of people
amplifies inequities. Her work often explores the paradox and anxiety of a privileged life in the age of climate change—as we pursue the American Dream through meticulous home-making and associated consumption, we make humanity less secure globally.
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House, Wood, motor, steel, casters, 8 x 8 x 9 ft., 2017
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Hamiltonian Artists SpaceSaver mechanical system, 52 x 13 x 10 ft., 2018
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Sides of a Line ( detail ), Wood, wax, parachutes, buttons, foam, formica, concrete, metal, burlap, latex,
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SpaceSaver mechanical system, 52 x 13 x 10 ft., 2018
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H E AT H E R T H E R E S A C L A R K
Sides of a Line ( details ), Wood, wax, parachutes, buttons, foam, formica, concrete, metal, burlap, latex,
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H E L I N A M E TA F E R I A
Helina Metaferia is an interdisciplinary artist working in performance, new genres, and collage. Her work has been presented at venues including Museum of the African Diaspora ( San Francisco ), Museum of Fine Arts ( Boston ), New Museum ( New York ), and Museum of Modern Art ( Addis Ababa, Ethiopia ). Helina received her M F A from Tufts University’s School of the Museum of Fine Arts and attended the Skowhegan School of Painting and Sculpture. Her artist residencies include Bemis, MacDowell Colony, Yaddo, Lighthouse Works, M A S S M o C A, and Ox-Bow. She was a 2015–2017 A I C A D Teaching Fellow at the San Francisco Art Institute and is a 2018–2019 Visiting Assistant Professor at Michigan State University.
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A large part of my creative inquiry is devoted to asserting the black female body into sites of systemic oppression—including institutional spaces, art history, gentrified communities, or land marked by historic trauma. Throughout my work, I am constantly reflecting on the notions of “home ” and how our racial and gendered body complicates this. Formally, my art exists as an interdisciplinary synthesis of performance, video, installation, photography and mixed media collage. I often use my own body in my practice, expanding upon my background in painting and drawing to include process based performative actions.
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Tribal Side Eye 1, Collaged paper, 23 x 58 in., 2018
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H E L I N A M E TA F E R I A 32
( top left )
Out of the Palm of my Hand, Collaged paper, 33 x 83 in., 2018
( background )
Refiguring the Canon ( installation view ), Collaged paper, Various Dimensions, 2018
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A Seat: Pulling up a Chair next to Joseph – Conversing with Nzinga, Rosa, Shirley, and Solange, HD Video, sound, 2 : 57 min. ( loop ), Three digital C-Prints, and wooden chair, Various dimensions, 2017
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KYLE BAUER
Kyle Bauer born in Salem, IL and moved to Baltimore after earning his M F A from Louisiana State University in 2011. Since 2012, he has been the Conservation Technician of Prints, Drawings, and Photographs at the Baltimore Museum of Art. His work has been featured in solo exhibitions at Loyola University Maryland, The Delaware Contemporary, and Flashpoint Gallery ( DC ). Notable group shows include “Exhibition 280” at Huntington Museum of Art ( WV ), “Change of State” at the Wassaic Project ( NY ), “The Sondheim Artscape Prize Finalist Exhibition 2014” at The Walters Art Museum ( MD ), and “The Sondheim Semi Finalist
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In my current body of work, I have stripped away the patterned facades and bright colors of my oeuvre to date, revealing the raw surfaces and tension that have always been at the core of my artistic practice. My intention is to enhance the familiarity of the formal objects I create by revealing their pure reductive form. I continue to draw inspiration from historical architecture and desire to elevate materials with humble origins though my devotion to seamless craftsmanship. Meticulously refined objects are constructed almost exclusively from plywood and they collectively build an environment that com-
Exhibition” ( 2015 & 2018 ) at M.I.C.A. ( MD ). Bauer is a recipient of various grants and awards, most notably 2015 and 2017 Maryland State Arts Council Individual Artist Awards, 3rd Place in “The Young Sculptors Competition” at Miami University, and “Award of Excellence” in Exhibition 280 at Huntington Museum of Art. Bauer’s work is in both private and public collections, was recently accessioned into the Louisiana State University Museum of Art. Bauer lives and works in Baltimore, MD.
municates a sense of foreboding. Plotted layouts investigate how spaces shape behavior and modify the viewer’s movement in the gallery space. Physical tension is heightened as viewers pass around and between seemingly vulnerable sculptures, making one aware of their body and navigation.
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Windage and Elevation, Various plywoods and dowels, 54 x 30 x 60 in., 2018
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Knucklebones, Various plywoods, 38 x 55 x 55 in., 2018
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WJBD ( detail ), Various plywoods, 20 x 4 x 20 in., 2018
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WJBD, Various plywoods, 20 x 4 x 20 in., 2018
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PAT R I C K H A R K I N
Patrick received his M F A from Virginia Commonwealth University in 2017 and his B F A from the University of Florida in 2015. Recent exhibitions of his work have taken place at Prime Produce with the Cybernetics Library ( New York ), Hamiltonian Gallery ( D.C.), Virginia M o C A ( Virginia Beach ), V A L E T ( Richmond ), Gallery Protocol ( Gainesville ), and the Florida Museum of Photographic Art ( Tampa ). Patrick lives and works in Richmond and teaches photography and time-based media at V C U.
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Growing up in suburban Florida, I am well acquainted with the seasonal need to try and hurricane-proof everything in my native state. My work exists at the intersection between photography, video, performance, sculpture and sound. Through my theatrically staged installations I investigate themes of commodity criticism and concepts of ideology under contemporary image mediated culture. Specifically, my work operates as an ecofeminist analysis and critique of the separation inherent in media presentation and rhetoric surrounding natural disasters and climate change. Cycles of building, destruction, and rebuilding related to the natural elements, especially water and wind, are spotlighted in my work, which stems from my upbringing within coastal flood zones and a close relationship to rising sea levels. I make elemental worlds made of solids liquids and gases, because I live in a world that is actively melting and sublimating.
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HD video, sound, 10 : 00 min. ( loop ), Dimensions variable, 2017
Hamiltonian Artists
The Bounty, Two oil drums, sandbag, ratchet straps, solar panels, solar generator, Mc4 cable,
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PAT R I C K H A R K I N (background)
Artic Blitz (on the left), Archival pigment print, 25 7/8 x 21 in., 2018; Future Pastime (after Morandi) (in the middle), Archival pigment print, 33 3/4 × 27 1/8 in., 2018;
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Prime, Perform, Recover (after Morandi) (on the right), Archival pigment print, 21 x 25 7/8 in., 2018 (bottom right)
Cool Blue, Archival pigment print, 21 1/8 x 33 ¾ in., 2018
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Hamiltonian Artists ( top )
Icy Charge ( detail ), Pigmented concrete, resin, l e d lightbulb fixture,
( left )
Nomadic Furniture ( installation ), Oil drum, industrial hurricane fabric, tempered glass, pigmented concrete, Dimensions variable, 2018
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Dimensions variable, 2018
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RACHEL GUARDIOLA
Rachel Guardiola is an interdisciplinary artist and naturalist. Her practice investigates the intersection of art, science, and human curiosity to seek the unknown through lens based technology. Rachel is the recipient of the 2016 to 2018 Hamiltonian Artist Fellowship in Washington D.C. and Studio Resident at School 33 Art Center in Baltimore, MD. She has exhibited in the U.S., Iceland, Denmark, France, Italy, Australia, and Senegal. Rachel has been an artist in residence at the Arctic Circle Art & Science Expedition, H E I M A, A.I.R. Gallery, Vermont Studio Center, and Atelier de
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I am an interdisciplinary artist with a background in natural history preservation. My practice explores the human relationship to wilderness through the construction of mythologies that exist on other earths. I utilize analog and digital technologies including photography, film, video, sound, alternative processes, and projected installations that build fantastical narratives of future past topographies inspired by periods of my own physical navigation through extreme landscapes. While in the field, I utilize lens-based technology to position myself as an alien examining unknown terrain. The alternate histories follow the habits of these cyborg or chimera characters, and the ecology of the spaces they traverse. The apparatus is handled as an extension of the body, switching between perspectives to capture the act of discovery. The works playfully teeter between fact and fiction, future and past to become environments of the uncanny.
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Visu. Her work has been exhibited at List í ljósi, Sydney College of Arts, Biennale de Dakar O F F à Saint-Louis, National Aquarium, Arlington Arts Center, The Halide Project, School 33 Arts Center, Wassaic Project, Trestle Gallery, Temple University, Parsons The New School for Design, SpaceCamp, Marymount University, and Greater Reston Art Center. She received a M F A from the Maryland Institute College of Art in 2015 and B F A from the Rhode Island School of Design in 2007.
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Archaeologies from V E G A’s Garden, Chromogenic color print ( darkroom print ), 20 x 24 in., 2017
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Archaeologies from V EG A’s Garden, Chromogenic color prints ( darkroom prints ), 20 x 24 in., 2017
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V E G A Project Bio-M Y N E, HD video, 4 : 32 min. (loop), 2016–17
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RIVES WILEY
Rives Wiley ( b. 1990, Alexandria, VA ) holds a B F A from Rhode Island School of Design ( 2013 ). Wiley’s work has been featured in publications including The Washington Post, Vice: The Creator’s Project, The Huffington Post, Washington City Paper, Dirt D M V, ARte Fuse and Bmore Art. Her work has been exhibited in several group and solo presentations including “Testpattern”, School 33 Art Center, Baltimore, MD ( 2018 ); “Failed Evolution”, SPRING / BREAK Art Fair, New York, NY ( 2017 ); Satellite Art Fair, Miami Beach, FL ( 2016 ); Dinner Party Download, Hillyer Art Space, Washington, DC ( 2016 ) and Inter / Mission, The Pataphysical Society, Portland, OR ( 2016 ). Wiley is a recipient of a 2017 DC Commission for the
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Through her paintings, life size installations, and videos, Rives Wiley immerses her viewers into spaces where reality and their virtual counterparts mirror and mimic one another into surreal, playful outcomes. She asserts the handmade physicality of her work to demonstrate the impossibility of meeting digital image standards but employs enough skill to play with perception in an uncanny way. Keeping this in mind, she concerns herself with the subject of lifestyles and trends that seem to reject today’s screen-focused mentality while simultaneously relying on its systems to thrive. Such subjects include You
Arts and Humanities Grant and completed the Vermont Studio Center Residency in 2016. Wiley is a 2016 Hamiltonian Fellow, and she lives and works in Washington, DC.
Tube do-it-yourself culture, the wellness lifestyle trend, and other recent contradictory social developments. Wiley prompts viewers to consider whether life is merely reflected in the digital realm, or if the digital dictates us.
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Hot Stones, Sanded styrofoam, acrylic paint, Dimensions variable, 2018
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Hamiltonian Artists ( top left & right )
Potted Plants, Resin Tea, Affirmations ( details ), Plywood, plastic plants, resin tea
( background )
How To Be Photo-Synthetic ( installation view ), Plywood, styrofoam, gel candle wax, latex paint, filament, spray paint, oversized brass utensils, 8 x 8 ft., 2018
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cups, 12 x 12 in. squared and differing heights, 2018
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spray paint, oversized brass utensils, 8 x 8 ft., 2018
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RIVES WILEY
How To Be Photo-Synthetic ( detail ), Plywood, styrofoam, gel candle wax, latex paint, filament,
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M A G A L I H É B E R T- H U O T
Magali Hébert-Huot was born in Québec City, Qc, Canada. She completed her B F A at Emily Carr
Antithetical to heteronormativity and historical generalization, namely the binaries of Good & Evil, Man & Woman, Loyalty & Betrayal, both myself and my practice embody an irreverent grey area of reverence and scorn, acceptance and rejection. To embrace sacrilege and piety simultaneously, is to embrace my own vacillating and contradictory position—at odds with cultural inculcation and gender roles. With kitschy depictions of solemn matters, the work explores structures, beliefs and artifacts with regards to the mutative effects of time, dislocation, and translation.
University of Art and Design in 2012 and received her M F A at Maryland Institute College of Art – Rinehart School of Sculpture in 2015. She has a rigorous studio practice, investigating and synthesizing her interests in sculpture, printmaking, architecture and history. Hébert-Huot was a 2016 Royal British Society of Sculptors R B S Bursary Award and the 2015 recipient of the International Sculpture Center Outstanding Student Achievement in Contemporary Sculpture Award. Recent exhibition includes Les Grandes Étendues, Hamiltonian Gallery, Washington, DC ( 2018 ); Vox X I I I : Are ‘Friends’ Electric? at Vox
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The practice is born from the place where language ( one / both / in-between ) fails completely. The representations I create are situated amid language, cliché and idiosyncrasy, believability and disillusionment, sincerity and irreverence.
Populi, Philadelphia PA ( 2017 ); and The Sondheim Semi-Finalist Exhibition at Maryland Institute College of Art, Baltimore, MD ( 2016 ). She lives and works in Québec City, Canada.
Furthermore, wax and rubber acts as catalysts for fluidity, neither solid or liquid, structurally sound but weak. Visually, the pieces in saturated hue are used to mock the less-is-more Miesian aesthetic that opens the door for cheaper building material, like O S B or stucco. During the process of casting objects, one material substitutes another, simulating an object by a more laborious process that which made the original—not unlike the process through which we rewrite and understand history.
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Untitled (Swinging Bundle Yellow), Expanding foam, rope, 3D printed hardware, 7 x 17 x 8 in., 2018
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M A G A L I H É B E R T- H U O T ( this page )
Untitled (Swinging Bundle Stucco), Spruce, stucco, hydrocal, rope, 3D printed
( bottom right )
Untitled (L’Hiver Est Long), Hydrocal and wax, dimensions variable, 2018
( background )
Les Grandes Étendues ( installation view )
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hardware, 7 x 19 x 6 in., 2018
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Untitled (Taxidermie Spruce), Pine, spruce, wax, flocking, dowels, 15 x 11.5 x 19 in., 2018
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Untitled (Boiler Spruce), O S B, spruce, stucco, flocking, 27 x 62 x 13.5 in., 2018
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PAO LO M O RA L ES 66
Paolo Morales is a photographer. He was born and raised in New York City and currently lives in Virginia. His work has recently been shown at The George Washington University, Virginia Museum of Contemporary
My documentary-style photographs describe people who appear emotionally isolated yet long to connect to others. I am preoccupied by what loneliness, desire, and longing can look like in pictures, and I seek out those moments as I search for people to photograph. My work is motivated by a search for connection between photographer and subject, pictures in a sequence, and people within the frame. Self-portraits, interracial couples, individuals in need of support, and broken landscapes emerge as reoccurring subjects in one of my current project titled “Between You and Me”. The pictures are affected by physical and emotional distance, longing, and desire ; landscapes and objects become metaphors for emotion, especially feelings of isolation
Art, Jinju International Photo Festival, Capital One Bank Headquarters, and New York Asian Film Festival. Residencies include Skowhegan School of Painting & Sculpture, Blue Mountain Center, and Philadelphia Photo Arts Center. He received an M F A in photography from Rhode Island School of Design, and currently teaches at George Mason University and The Potomac School.
and separation. I started making these pictures three years ago when I relocated to Virginia for work. Living in the suburbs continues to give me anxiety, and I hope those feelings translate into the photographs. For me, the title has multiple interpretations. It could refer to the distance between two people ( or something standing in the way ) and could also refer to a secret. The secret is : I hope these pictures can stay between you and me.
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Her King and his Queen, Archival inkjet prints, 24 x 30 in., 2017
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PAO LO M O RA L ES 68
( top )
Toy House, Archival inkjet prints, 24 x 30 in., 2017
( bottom right )
Katie teaching Alannah to Fish, Archival inkjet prints, 24 x 30 in., 2017
( background )
Memphis Tulips (installation view), 2018
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PAO LO M O RA L ES 70
(left)
Shawn and Katie, Archival inkjet prints, 24 x 30 in., 2017
(right)
Sue in her Pool, Archival inkjet prints, 24 x 30 in., 2017
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BOARD MEMBERS
PA U L S O is the founder of
F E L I X A N G E L is a Colombian-
the Hamiltonian Gallery and the
born artist, art director,
Hamiltonian Artists. He is also a
designer and freelance curator.
painter, art collector, entrepre-
He received his degree in
neur, and a physics professor
architecture from the Medellin’s
at George Mason University.
Institute of Fine Arts, where he simultaneously pursued studies in painting, drawing, and ceramics. His work has been exhibited in over 100 international solo exhibitions and is held in the public collections of the Bass Art Museum in Miami, the Detroit Institute of Art, and the San Francisco Museum of Art, among others. From 2000–2011, Angel was the Director of Cultural Center at K . D AV I D M E I T, c p m ® has
the Inter-American Development
nearly thirty years’ experience
Bank in Washington, DC, where
in multifamily real estate in New
he continues to live and work
York City and Washington, DC
today.
metro area. Before founding Oculus Realty in 2010, his career included successful management and executive positions at Bozzuto Management, Forest City Residential, d a r o Realty and Vornado / Charles E . Smith. He is a licensed real estate broker in the District of Columbia, Commonwealth of Virginia and the State of Maryland. Before entering real estate, David’s early career included positions at the Andrea Marquette Gallery and Grogan &
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Company Auctioneers in Boston and Lillian Heidenberg Fine Art in New York City.
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Hamiltonian Artists
J A N AY ’ T U R N E R works as the
G E O R G E KO C H is a painter,
office manager for the National
founder of A. Salon, Ltd.,
Environmental Education
founding board member
Foundation ( n e e f ) where she is
of the Cultural Alliance of
responsible for accounting and
Greater Washington, Cultural
budgeting, human resources,
Development Corporation,
and general office management.
Artomatic, Inc., and served four
Prior to joining n e e f , Janay’
terms as Commissioner of the
worked as the business manag-
DC Commission on the Arts and
er for the Arts Council of Fairfax
Humanities.
County. She holds a Master of Arts in Arts Management from George Mason University. Having a passion for the arts and giving back to her community, Janay’ started her own business in 2015, Turn 2 Music l l c ,
providing private piano les-
M A R Y E A R LY is a sculptor
sons and music workshops for
working primarily in wood and
people ages 5 and up. Janay’
beeswax. She has a special
remains an active member of
interest in the materials and
Emerging Arts Leaders DC,
techniques of contemporary
the Washington, D.C. Alumnae
sculpture and installation art
Chapter of Sigma Alpha Iota
and has exhibited her sculpture
International Music Fraternity,
both regionally and nationally
and the National Association for
since 1995. Early serves as
Music Educators.
the Director of HEMPHILL, a Washington, DC art gallery founded in 1993, with an expertise in exhibition planning, collection management. She has
G R E G K E A R L E Y is one of
worked closely with artist es-
the co-owners of Project 4, a
tates and collections to develop
contemporary art gallery with
long-range exhibition and col-
an emphasis on mid-career and
lection management plans and
emerging artists. He is also
to place individual works and
one of the principals in the
collections with museum institu-
award-winning DC architectural
tions and private collectors.
firm, Inscape Studio.
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curatorial services, and art
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N I C O L E E S PA I L L AT ( D e v e l o p m e n t M a n a g e r )
Dear Readers, Thank you for being a valued supporter of Hamiltonian Artists. If you’re reading this it’s because we count you among our close friends that have watched us grow into one of D.C.’s longest running artist incubators. Hamiltonian was founded 11 years ago and was designed to foster a more skilled, inventive, and creative artist community in D.C. Today, with over 60 fellowship graduates, Hamiltonian is still dedicated to fueling the creative economy of Washington and our neighboring communities, guided by a powerful mission to build a dynamic community of innovative artists and effective visual art leaders by providing professional development opportunities to innovative new artists and by advancing their entrepreneurial success. We have a record of transforming society for the better through art & design, innovation, and creative entrepreneurship—and we are just getting started. We hope you will consider joining our valued supporters in securing a bright future for our organization, its programs, and emerging creative professionals through a gift of any amount. Please visit hamiltonianartists.org/donate to make your contribution online.
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Thank you for your support and partnership. Sincerely, Nicole Espaillat
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HAMILTONIAN STAFF Founder and
We believe that access to information and experience on how to navigate the contemporary art industry creates confident artists who make well-informed decisions regarding their careers. In turn, these artists will positively impact our society and the economy through the longevity of their careers.
Hamiltonian Artists
Hamiltonian’s mission is to build a dynamic community of innovative artists and effective visual art leaders by providing professional development opportunities to innovative new artists and by advancing their entrepreneurial success.
Our three core values are:
Executive Director Paul So Program Director James Williams II
Professional Development Artistic Excellence Community
Development Manager Nicole Espaillat Hamiltonian Gallery Director Amanda Jirón-Murphy Hamiltonian Gallery Manager Rex Delafkaran H-Space Program Manager Nancy Daly C ATA LO G U E Coordinator James Williams II Graphic Design Eva Gonçalves Contributing Photographer
© 2018 Hamiltonian Artists
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Patrick Harkin
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Gallery Hours: Tuesday–Saturday 12 : 00–6 : 00 pm or by appointment 1353 U Street, NW Washington, D.C. 20009 t: 202 . 332 . 1116 e: info @ hamiltonianartists .org www.hamiltonianartists .org www.hamiltoniangallery.com
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