Tag Archives: contemporary art

ETO OTITIGBE | “Peaceful Journey” Sculpture Memorial for Heavy D | The New York Times

10 May

Laylah Amatullah Barrayn for The New York Times

A Memorial for ‘The Rapper Your Mother Liked’

Michelle Falkenstein

Michelle Falkenstein Reporting from Mount Vernon, N.Y.

“Peaceful Journey,” a new abstract sculpture in Mount Vernon, honors Heavy D, the rapper, record producer and actor, who grew up in this city just north of the Bronx.

Here’s what I saw at the unveiling last week →

The mayor of Mount Vernon, Shawyn Patterson-Howard, a classmate and friend of Heavy D’s, spoke at the event.

“His music was the soundtrack of our city, and his positive message and infectious energy inspired generations of artists and fans,” she said. “He put Mount Vernon on the map.”

In 2011, Heavy D died at age 44 from a pulmonary embolism.

Born in Jamaica as Dwight Arrington Myers, Heavy D moved with his family to Mount Vernon when he was 2.

Wes Jackson, the founder of the Brooklyn Hip-Hop Festival, credits Heavy D, who saw success in the 1980s and ’90s, with opening the door for other Mount Vernon hip-hop artists like Sean “Diddy” Combs.

“He didn’t curse,” Jackson told me. “He was the rapper your mother liked.”

“I remember dancing to Heavy D’s music at parties,” said Eto Otitigbe, the Brooklyn artist who was selected to create a sculpture for the city. It was his idea to take inspiration for the piece from the rapper.

The work, over 18 feet tall, is made from marble and both stainless and Cor-Ten steel. The timing of the unveiling was fortuitous; a yearlong, 50th anniversary celebration of hip-hop is underway.

“Peaceful Journey” is at a busy intersection near Exit 7 on the Cross County Parkway, where it will both welcome people to Mount Vernon and bid them farewell.

As the song that inspired it goes: “So through all your travels, I’m wishing you a peaceful journey.”

Available Artwork by ETO OTITIGBE

KATHERINE HATTAM | National Gallery of Victoria, Melbourne, Australia

11 Apr



Free entry

The Ian Potter Centre: NGV Australia, Fed Square
Level 2

View on map

Katherine Hattam
(b. 1950, Wurundjeri Country / Melbourne. Lives and works in Melbourne)

Katherine Hattam works across painting, drawing, collage, printmaking and sculpture, with her practice frequently interrogating language, particularly the written word, as well as dialects of domesticity, family and the self.

Two-sided and suspended in space, Our list, 2020, continues Hattam’s practice of infusing her works with the objects and influences that have shaped her. Recent works, including this one, have been created in response to Philip Guston’s 1973 painting Pantheon, in which Guston listed a personal canon of European male painters. In Our list, Hattam rewrites the record with a new list resulting from a survey of 200 peers regarding their favourite women artists – Australian and international, living and dead. Reflecting on these works in an essay for the 2020 exhibition Katherine Hattam: The Landscape of Language, Dr Anne Norton writes:

Hattam’s Pantheon is collaborative where Guston’s was individual, and though hers refuses his implicit universalism, hers is larger, encompassing more kinds of work, more spaces, peoples and cultures. Guston’s was an avowal, it sought to settle. Hattam’s is unsettling. Guston’s list is an answer, Hattam’s list questions … Hattam reminds us of the people we do not know, the work we missed, of rents and wounds, elisions and concealments.

Hattam held her first exhibition in 1978 at Melbourne’s Ewing and George Paton Gallery, alongside Helen Frankenthaler, and has exhibited regularly ever since. Her work is held in most of Australia’s major public collections, including those of the National Gallery of Australia, National Gallery of Victoria, Queensland Art Gallery, University of Queensland, Queensland University of Technology, Heide Museum of Modern Art, Art Gallery of South Australia, Deakin and La Trobe Universities, Warrnambool Art Gallery, Monash University of Modern Art, and Bendigo Art Gallery, as well as in private and corporate collections including George Patterson, Minter Ellison, National Bank of Australia, Potter Warburg, Smorgon, the Darling Foundation and RACV. She has won the Banyule and Robert Jacks drawing prizes, and has been shortlisted in the Sulman Prize, the Dobell Drawing Prize, the National Works on Paper prize, and the Arthur Guy and Geelong Gallery painting prizes. She holds a Bachelor of Arts in literature and politics from the University of Melbourne (1974), an Master of Fine Art (Painting) from the Victorian College of the Arts (1992) and a PhD from Deakin University (2004).

Contact Morton Fine Art for additional information and acquisition of KATHERINE HATTAM’s “My Blue Pantheon” (see image below). http://www.mortonfineart.com

Available artwork by KATHERINE HATTAM

VONN CUMMINGS SUMNER | The Daily Cartoonist

8 Apr

Of Cartooning and Cartoonists

D. D. Degg

06 mins

Willie Ito, Michael Maslin, Vonn Sumner, Charlie Daniel, Ed Steckley, Trina Robbins, Lee Mars, Jules Rivera, more

Long time animator (1954 – 1999) who frequently dabbled in other comic arts …

I also was involved with magazine cartoons (Car-Toons magazine in the 1950s), comic strips (four episodes of the annual Disney Christmas comic strip for King Features), comic books (the five Beany and Cecil comic books 1962-1963) and doing subcontract work for other production studios.

… Willie Ito on his long career presented by Jim Korkis at Cartoon Research.

Norbert by Jerry DeFucchio and Willie Ito, a never-was comic strip © respective owners

Further reading: Lambiek Comiclopedia Willie Ito entry.

Michael Maslin has contributed “drawings” to The New Yorker since 1977 …

© Michael Maslin

One of the many things I’ve liked (alright, loved) about working for The New Yorker is the absence of pressure the magazine places on its cartoonists. The absence itself is purposeful: we (“we” being the cartoonists) are allowed complete freedom to pursue our work.

Michael describes his work habits regarding submitting cartoons to The New Yorker.

Second Nature is a curiously familiar solo exhibition of brand-new paintings on paper and canvas by artist Vonn Cummings Sumner. Familiar, that is, if you’re a follower of George Herriman’s influential comic strip character Krazy Kat and her unrequited love for brick-throwing Ignatz the Mouse.

© Vonn Cummings Sumner

Stephen Heller interviews artist Vonn Cummings Sumner for Print Mag.

That is a really interesting question. I think that has to do with the times—the difference between Modern and Postmodern, perhaps? But also it has to do with the medium: A cartoon strip has its history/language/conventions and a painting has its history/language/conventions. I hold humor very high in the hierarchy of artistic values.

It is fitting that his talents will be honored with a Lifetime Achievement Award during the East Tennessee Writers Hall of Fame ceremonies Friday, March 24, at The Foundry.

photo via the East Tennesee Writers Hall of Fame

The talent is Charlie Daniel, and prior to the honor his friend Sam Venable at Knoxville News Sentinel profiles and roasts Charlie with some rejection slips from magazines and newspapers.

Saturday Evening Post: “(Your work) is not quite suited to our needs.”

Growing up, Ed Steckley dreamed of contributing to MAD Magazine and being a part of “Saturday Night Live.” The 2018 University of Wisconsin-Whitewater graduate achieved both goals through a varied career that he attributes to a message on the campus bulletin board.

Rube Goldberg © Jennifer George and Ed Steckley; photo: Ed Steckley

Illustrator/cartoonist/caricaturist Ed Steckley is named UW-Whitewater 2023 Distinguished Alumnus for Professional Achievement. Dave Fidlin, for UW-W, interviews Ed about the honor and his 30 year career.

Comics artist and historian Trina Robbins and cartoonist Lee Marrs were the BIG NAMES at the Cartoon Art Museum‘s Women’s Comics Marketplace earlier this month. Jules (Mark Trail) Rivera and a dozen other women cartoonists were also there.

photos via Bay City News

Marrs, a Berkeley resident, created the comic book series, “The Further Fattening Adventures of Pudge, Girl Blimp,” which was nominated for an Eisner Award in 2017, the highest honor bestowed in the comic book world.

In 1972, Robbins, a San Francisco resident, wrote and drew a short story called “Sandy Comes Out,” starring the first lesbian comic-book character outside of pornography. Shifting gears, she began drawing for DC Comics in the 1980s, and since then has authored several books and continues to write and draw comics.

Janis Mara, Bay City News, attended and talked to the cartoonists.

Available artwork by VONN CUMMINGS SUMNER

JENNY WU’s “Ai Yo!” | Reviewed by Christine Ji for The Georgetown Voice

3 Mar


Ai Yo!: Jenny Wu’s exhibit brings new energy to Morton Fine Art

By Christine Ji

Published March 2, 2023

Courtesy of Morton Fine Art, Photo credit: Jarrett Hendrix

Once a warehouse, the unassuming brick building sitting in the corner of NoMa on 52 O Street is now home to a variety of art studios and galleries. One of them is Morton Fine Art, which just launched Ai Yo!, a selection of 21 sculptural paintings by artist Jenny Wu. The gallery is spacious and well lit, and the walls are decked with Wu’s colorful works. I was not entirely sure what a sculptural painting entailed, but I was curious to learn more. 

“Hundreds of people came for the opening day,” Amy Morton, curator of Morton Fine Art, said. I can see why: the works are fun and unconventional. Wu creates her art by pouring layers of latex paint on top of each other, a technique that she told the Voice took her almost a decade of trial and error to develop. Once the layers have dried—a process which can take up to four months—Wu slices the sheets into varying sizes and meticulously rearranges them on top of a wooden panel to create patterns. She then applies a resin coating over the whole contraption to add a glossy finish. The result is many colorful, mosaic-esque creations of varying color schemes and patterns. 

Wu’s creative combination of painting and sculpture makes her work quite the treat to see in person, as one can more closely see the textures and topography created by the latex chunks. The drying and cutting process leads to cracks and imperfections in the individual latex units, meaning no two fragments are identical. 

“The paint crinkles quickly, and the liquid paint becomes something I can hold,” Wu said. 

The centimeter-sized latex cube sample Morton hands me to examine resembles a vibrant chunk of sedimentary rock or a soil specimen. It has the quiet elasticity of a bouncy ball or firm eraser. Considering that Wu uses these three dimensional units to create her visual art as opposed to a more traditional medium like paint, it is clear “sculptural painting” is an apt term to describe her work. By using these latex layers as her instrument of creation, Wu liquifies the boundaries between the two media. 

“They really need to be experienced in person, because it is very hard to capture the textures and colors with just a photo,” Morton said. 

Regarding the title of the exhibit, Wu explains that the phrase Ai Yo! is an interjection used in many different situations in her hometown in China, from communicating feelings of awe to displeasure. 

“The meaning depends on the context. It is both general and specific,” Wu said.  “I think most human beings, when they look at those four letters together, they can pronounce it in some way, even if they don’t speak Chinese. You can pronounce it any way you want, as long as it adds emotion.” 

The inclusive and welcoming nature of the exhibit title leaves a lot of space for viewers to interpret the pieces, proving that Wu’s art is something that transcends language barriers. 

After going to graduate school at American University, Wu found that there were more galleries and organizations focused on promoting smaller artists here in D.C. compared to other places. Given the political and international significance of D.C., Morton remarks that it’s “important to keep the conversation expanding through art and push museum tipping points.” Galleries like Morton Fine Arts and the artists that they partner with are critical in continuing to expand the boundaries of art and make meaningful statements about the world we live in. 

Wu’s mission complements that of Morton Fine Art curator Amy Morton’s well, resulting in a synergistic collaboration. Morton chooses her artist partners with careful deliberation, looking for “substantive artwork that is both timeless and timely.” Wu’s work fits the bill, leaving a lasting impression through the unique medium and jarring titles. The political overtones of her work reflect aspects of the local cultural climate, arising naturally out of the close proximity to Capitol Hill. Both Morton and Wu agree that the D.C. art scene is not as bustling or developed as, say, New York City, but the city is fertile ground for emerging artists. 

The artwork titles are equally delightful and thought-provoking as the visual components. Wu draws inspiration for these creative titles from Twitter, Instagram, and other forms of social media. “I want my titles to be more abstract, rather than purely descriptive, so they can create more space,” says Wu. 

Though all of these pieces are abstract, their titles provide much food for thought that prompts the onlooker to think about the pieces more deeply. Some titles are humorous, like “70 Year Old Intern Waiting for His First Real Job” (2022). For this piece, Wu has arranged long warm toned strips with slices of green in the middle into hexagons, juxtaposing the chaos of the latex strips with the order of the polygons for a sense of contained frustration.  Others are damning, like “Spent $50.4 Million on TV Ads to Brag About Giving Local Businesses A Total of $100,000” (2022). This piece is an amalgamation of small red, white, and blue pieces that emanates a more chaotic, overtly political energy.

“Ruthkanda Forever” (2022) and “Carefully Editing an Email Response” (2021) stand out in particular. The latex layers that make up “Ruthkanda Forever” are varying shades of blue with the occasional yellow stripe, arranged in a lightly undulating formation. From a distance, the piece looks like gently rolling ocean waters reflecting moonlight, which, when combined with the title, perhaps represents how our collective pop culture consciousness has digested and lionized RBG and the Black Panther franchise. “Carefully Editing an Email Response” features paint strata delicately arranged in tessellating hexagons, resembling the rigid and meticulous process of combing through a professional email for typos. Other interesting titles include “$1200 That Should Be More Than Enough” (2022) and “I Will Not Get Bit By Capitol Fox” (2022). Georgetown students are sure to get a kick out of the latter, considering the heavy political preprofessional inclinations of the general community. 

One way Wu pushes artistic boundaries is by exploring different usages of color.

“Right now, the way I choose colors is more based on the aesthetic. Like, if I do some purple with some blue, a little hint of orange might look good in there based on the similarity of the colors. But I want to explore more ways of combining colors and patterns together,” Wu said.

Whatever direction Wu takes her work in, she will continue to push boundaries and set new creative benchmarks. Any vaguely art-curious Georgetown students should be sure to take advantage of the opportunities we have in DC and explore the unique flavors of local art here.

Christine Ji
Christine is a senior in the MSB majoring in Finance and minoring in History. She harbors unhinged opinions on goldfish, Garfield, and The Strokes.

More: art exhibitjenny wumorton fine artmuseum review

Available artwork by JENNY WU

JENNY WU | Morton Fine Art | See Great Art

11 Feb


Jenny Wu art exhibition at Morton Fine Art D.C.


Jenny Wu headshot.
Jenny Wu headshot. Courtesy Morton Fine Art and the artist.

Morton Fine Art presents “Ai Yo!,” a solo exhibition of sculptural paintings by artist Jenny Wu. Continuing an innovative latex paint and time-based practice the artist has been implementing for nearly a decade, “Ai Yo!” features Wu further exploring composition, color, expertise, control, chance and surprise—favoring discovery over mastery. Long interested in tactility, in-betweenness, embodiedness, and construction (Wu has a background in architectural studies), the Jenny Wu art exhibition questions our basic assumptions about what paintings and sculptures can be. Wu’s first solo exhibition with the gallery, “Ai Yo!,” will be on view from February 8 – March 8, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).

Underpinned by transformation and embodying time, material characteristics and chance, Wu’s sculptural paintings operate as both built objects and records (of labor, gesture, accident). Generating degrees of liminality, Wu’s body of work is an engine to multiplicity. To create each work, Wu pours thick coats of latex paint onto silicone surfaces, allowing each layer to dry completely before adding another layer of latex in turn to dry. The results are rich and vividly varied strata of dried paint, which Wu then cuts to reveal layers of colorful cross-sections, often touched by chance elements like cracking.

Using these cross-sections as her base units, Wu assembles her paintings, building up relief and composition—piece by piece—on wood panels. Both the cross-sections and their eventual sculptural forms veer towards an order out of serendipity and planning. Following prearranged patterns, Wu erects pulsing grid-forms and mesmerizing reliefs of playful, shimmering paint, completed with a top coat of glossy resin to amplify her vibrant palette. Transforming latex paint from its original, liquid form—before fashioning it within new contexts and forms—the artworks acknowledge an abiding passion for the sensational and perceptual properties of materiality.

Titles play an important role in Wu’s practice, in some cases mirroring her process of cutting and rearranging layered materials: Too Heavy to Carry to the British Museum (2022); 70 Year Old Intern Waiting for His First Real Job (2022); Hello to That One Person Who Nods Along Encouragingly During Presentations (2022). Sourcing her titles from Twitter (including a number of Donald Trump’s tweets, an approach that ended in 2020), Wu’s titling compounds the humorous and constructive elements explored in “AiYo!,” the meaning of which too is both layered and specific.

A regional expression in Nanjing, China, Wu’s hometown, “Ai Yo”’s meaning depends on how you say it, ranging from “impressed” to “suspicious.” Existing only as an expression, there is no character for “Ai Yo;” it can only be said and spoken. Unfixed and open, “AiYo” accrues yet an additional context in Wu’s selection of it as her exhibition’s title. Balancing clarity and surprise, “Ai Yo!” is the result of countless juxtapositions and an expanding set of contexts.

About the Artist

Jenny Wu is an artist and educator. She is currently a visiting assistant professor of fine art at Trinity College in Hartford, CT. Wu’s work acknowledges the sensational and perceptual properties of materiality and then transforms the materials from their original forms and purpose to present them within new contexts.

About Morton Fine Art

Founded in 2010 in Washington D.C. by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice.

Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African and Global Diaspora.

Available Artwork by JENNY WU

JENNY WU | Ai Yo! | Washington City Paper

10 Feb

Ongoing: Jenny Wu’s Ai Yo! at Morton Fine Art Gallery

Is it architecture? Or painting? Perhaps some tapestry of the two? And does genre even matter? What is this instinct to sort, to categorize? Is it intrinsically human, or an invented construction? These are some of the many questions prompted by Jenny Wu’s colorful and layered pieces, on view this month at Morton Fine Art. Wu’s collection, titled Ai Yo!, is both a celebration of multiplicities and a reflection of liminality. Like many artists, Wu begins with a wood panel canvas and paint. But she immediately diverges. Like a pastry chef or chocolatier, Wu pours liquid latex paint into silicone molds repeatedly over extended periods of time until she’s built her own new kinds of ‘paint chips.’ She splices them together with her precise, yet whimsical hand, to reveal brilliantly colored miniature confections, each barring their own signature markings. She then assembles these to create her cheekily titled works (yet another invitation for complexity), such as “Hello to That One Person Who Nods Along Encouragingly During Presentations” or “Spent $50.4 Million on TV Ads to Brag About Giving Local Businesses A Total of $100,000.” In one piece, titled “Too Heavy to Carry to the British Museum,” hot pink and tangerine strips (think sour rainbow candies) stacked like books leave enough negative space for the glossy yellow underlayer to shine through. And in another joyful, defiant, complicated piece, lavender, turquoise, and bubblegum paint layers fit snugly next to each other, like sugar-high kids on a Friday night sleepover. When you step back, the interplaying modules evoke a well-loved floor rug, or a cross section of some distant technicolor planet’s malted core. Another title Wu selected reads: “It’s Not Finished But I Am.” The exhibit is on view through March 8 at Morton Fine Art Gallery, 52 O St. NW, #302. mortonfineart.com. Free, by appointment. —Emma Francois

Jenny Wu’s “It’s Not Finished But I Am,” 2022; latex paint and resin on wood panel, 36 x 24 x 2.5 in. Courtesy Morton Fine Art and the artist

Available Artwork by JENNY WU

Artist x Artist Talk on Collage | Michael Andrew Booker, Lisa Myers Bulmash, GA Gardner and Amber Robles-Gordon

25 Jan

Video credit: Jarrett Hendrix

Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).

Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called  “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts. 

Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people. 

Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art. 

Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process. 


Artist JENNY WU paints and sculpts her piece “70 Year Old Intern Waiting for His First Real Job”

6 Jan

JENNY WU’s solo exhibition “Ai Yo!” runs February 8 – March 8, 2023 at Morton Fine Art in Washington, DC.

Featured here: Jenny Wu’s 70 Year Old Intern Waiting for His First Real Job”, 2022, 36″x24″, latex paint and resin on wood panel.

Visit www.mortonfineart.com for available artwork by Jenny Wu.

LIZ TRAN | Interlocutor Magazine | Artist and Curatorial Statements

26 Dec


Dec 20


Exhibition FeaturesVisual Artists

Photos by Jarrett Hendrix

Morton Fine Art, in collaboration with Homme DC, is pleased to present Matriarchs and Daughters Dream Oceans of Braille, an exhibition of polychromatic inkblot prints and Heirloom (2022), a new 17-foot wall-mounted installation, by artist Liz Tran. Matriarchs and Daughters Dream Oceans of Braille will be on view by appointment through January 6, 2023 at Homme DC’s Washington, D.C. space (2000 L ST NW). 

Inspired by early memories of the artist being administered Rorschach tests — a psychological evaluation of mental health and trauma through associative responses to inkblots — Tran transforms and transports the familiar monochromatic prints into a world of vibrant, technicolor panels that explore the nature of viewer subjectivity. Featuring work from her Mirror and Cosmic Circle series, Matriarchs and Daughters Dream Oceans of Braille is an explosion of colorful dots, circles, blot, and splashes that accumulate on the panel and create a thickened impasto.

Heirloom, 2022 (Work in progress image) – Mixed media fiber collage installation, 198 x 53 in.
Mirror 32, 2021 – 24 x 18 in. Mixed media on panel


Exuberant and cerebral, Liz Tran is nationally recognized and well-known in her home city of Seattle, Washington. Conjuring a world of vibrant, technicolor visions, she explores the nature of viewer subjectivity. A generous and open artist, her current solo exhibition, Matriarchs and Daughters Dream Oceans of Braille, feels like a gift of connection —  almost a theme, this sort of connection continues the spirit of my gallery’s collaboration with Homme DC (in the exhibit’s presentation). This collaboration goes a step further in the form of Liz Tran’s spectacular installation piece Heirloom, which she lovingly completed with her mother.

17-feet long, Heirloom is composed of fabric drawn from her travels, memories and installations from around the world, including the curtains of a circus tent, an oversized fiber womb encased in a vintage trailer and a space suit onesie. The piece was sewn by her quilt-making mother, with whom Tran often collaborates. Tran’s work often places the self at the center, valuing self-knowledge and self-care. With Heirloom, Tran honors her mother and all the generations of women who came before her. Love and devotion seem to be at the center of Heirloom.

Cosmic Circle 1, 2020 – 24 x 24 in. Mixed media on panel
Baby Father, 2019 – 24 x 24 in. Mixed media on panel


My maternal grandmother Joyce would be thrilled by the knowledge that my mother and I: dissected her pristine white tablecloth, stained it with turmeric and affixed it to my current installation, Heirloom. Like many grandmothers, Joyce was a little different. Meant for a lively life in the city, she managed to play the role of a farmer’s wife somewhat convincingly, but I often wonder what her story would have been like if she had been born into my generation. Her spirit’s foundational support of my beautifully unconventional life is forever present. I aim to make her proud, in my art and my life.

Mirror 5, 2020 – 27 x 54 in. Mixed media on panel
Mirror 8, 2020 – 54 x 27 in. Mixed media on panel
Cosmic Circle 3, 2020 – 24 x 24 in. Mixed media on panel

Matriarchs and Daughters Dream Oceans of Braille will be on view by appointment through January 6, 2023 at Homme DC’s Washington, D.C. space (2000 L ST NW). 

Check out our coverage of other current and recent art exhibitions

All images courtesy Morton Fine Art and the artist

Tyler Nesler

Morton Fine ArtLiz TranTyler NeslerDC GalleryMixed MediaFiber ArtsContemporary ArtModern ArtInkblot printsInstallations

Available Artwork by LIZ TRAN

All Africa highlights LIZETTE CHIRRIME’s need for urgent medical procedure

17 Dec

Mozambique: Mozambican Visual Artist Lizette Chirrime Starts Crowdfund for Urgent Medical Procedure


A GoGetFunding has been set up to help raise funds for Lizette Chirrime’s surgery.

16 DECEMBER 2022


By Melody Chironda

Cape Town — In 2020, at the height of the Covid-19 pandemic, Lizette Chirrime underwent successful, life-changing hip replacement surgery. Now doctors have revealed that the surgery was not as successful as initially thought, and this is threatening her life.

The self-taught multidisciplinary artist, according to Morton Arts, is well known for her “artistic work of combining textiles and found objects, in her symbolic abstract works – drawing inspiration from her journeys and dreams. Chirrime’s interplay between textiles and abstraction, as well as her palpable use of art as a therapeutic and spiritual tool, brings forth a reconfigured understanding of representation and human nature, using thread after colored thread to inspire hope and healing.”

Following a three-month residency at Greatmore Studios in Cape Town in 2005, she lived in South Africa until 2021, then returned to her native Mozambique. She has been featured in numerous galleries and museums such as Cape Town Art Fair, Kubatana, Vestfossen Kunstlaboratorim, Norway, including a solo exhibition, Rituals for Soul Search, at Morton Fine Art in Washington, DC

In addition to her exhibitions, she has participated in Nando’s Artist Society, Nando’s Chicken Run, as well as Yellowwoods Art’s Creative Block programme.

But now, Chirrime is facing the greatest challenge of her life.

She is seeking help from friends, family, and kind-hearted donors to help pay for her operation in India.

Outlined on her GoGetFunding page, Chirrime said that in 2020, in the middle of the pandemic, she underwent hip replacement surgery in South Africa and all was well until just over a year later when she began experiencing pain.

And after two years of constant pain and much research for relief, she was told that she needs to get another hip replacement.

Available Artwork by LIZETTE CHIRRIME