di Rosa Museum of Contemporary Art | ADIA MILLETT | A Force of Nature

JULY 23 – OCTOBER 30, 2022

adia millett: a force of nature | opening july 23

“the land at di rosa… changing like the direction of the seasonal smoke, reveals to us that with death comes new life.” -adia millett

Adia Millett: A Force of Nature presents new paintings, textiles and sculptural installations by the Oakland-based artist, created in response to di Rosa’s distinctive landscape. “The land at di Rosa,” Millett writes, “lush with soaring vultures, cracks in the decomposing earth, traces of snakeskin, and endless layers of shadows, arouse our creative minds to remember where we come from. The multitude of colors, changing like the direction of the seasonal smoke, reveals to us that with death comes new life.”

Ranging across diverse media, Millett’s practice is rooted in “taking things apart, removing, replacing, cutting, pasting, sewing and building.” Evoking “the mended shapes of an old quilt, or polygonal segments of a cathedral window,” the works suggest “the importance of renewal and rebuilding, not only through the artistic process, but also through the possibility of transformative change.” Human beings, like earthquakes, forest fires or floods, are also forces of nature.

Millett earned her BFA from UC Berkeley followed by an MFA from CalArts. Her work has been exhibited at institutions including the Studio Museum in Harlem; the Craft and Folk Museum in Los Angeles; the Museum of Contemporary Art, Atlanta; the Santa Monica Museum of Art; and the Contemporary Art Center, New Orleans.

related programs

July 23: opening reception

October 29: Artist talk

Adia Millett, Snake in the Fire, 2022.

“The countless creatures I witnessed living on the land, including a baby rattler, became mirrors. We are able to see ourselves in other living beings. As they navigate the land, so do we. I imagine the young snake using its senses to transition from the challenges of one season to another. Here the triangle-shaped painting, not only integrated the shades of red to symbolize fire, but blue, green, yellow, and gold, for the water, air, and earth. Like the snake, we move, shed, and thrive.”

Quilted Ancestor: Earth (unfinished)

The three Quilted Ancestors titled Sun, Moon, and Earth were created to bring the fabric to life. As a viewer, we can begin to imagine a ghost, spirit, or loved one beneath the shrouds. In turn, the titles suggest that we can then image our planet or the moon as an entity, or family member. The quilts are covered with pieces of fabric that reveal the layers and complexity of who we are.

The Collective ( 1 of 10)

The Collective is a series of ten abstract forms, slightly resembling the shape of a figure or mummy. These forms are designed to float amongst the wall, each one unique and still connected to the others. Millett does not see these as body forms, but rather an energetic trace within the body. Like all the work in this exhibition, they are emblematic of transition, elevation, and the many dimensions of who we are.

Grandmother is perhaps the most personal piece in this exhibition. It starts with a piece of an unfinished quilt top from Millett’s grandmother. Adia adds hand-stitching in and around it and moves outward creating a mandala of feathers, most of which were collected from the land at Di Rosa. Earth tones surround what Adia calls a “medicine wheel”. Being the great-grandchild of Indigenous and African American slave foremothers, Adia uses her art to pay homage to the woman who came before her. The vast elements of the earthwork as a connection point to her matriarchal lineage.

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Available Artwork by ADIA MILLETT

Ethiopian artist MERON ENGIDA’s debut U.S. solo exhibition “Solidarity” at Morton Fine Art in DC

 

 

Virtual tour and artist talk of MERON ENGIDA’s debut U.S. solo exhibition, Solidarity. Launching on Morton Fine Art’s YouTube channel.  Contact the gallery for private viewing appointments, price list and acquisition. Visit our Website  ‌ ‌ ‌  ‌ MERON ENGIDA’s solo exhibition Solidarity and artist talk at Morton Fine Art, Washington, DC. Video credit: Jarrett Hendriix Solidarity A solo exhibition of paintings by MERON ENGIDA September 22nd – October 28th, 2020 VIRTUAL TOUR and ARTIST TALK On Morton Fine Art’s YouTube Channel TODAY Contact the gallery for private viewing appointment, price list, additional information and acquisition. (202) 628-2787 (call or text) mortonfineart@gmail.com (email) Available artwork by MERON ENGIDA MERON ENGIDA, Solidarity 3, 2020, 33″x35.5″, acrylic on canvas About Solidarity My art has been my language to express myself and my voice. My work explores personal experiences and my Ethiopian cultural heritage. Oftentimes my subject matter reflects my life as a mother in a multiracial family. My figures are diverse and often huddled together, with wide eyes. Children and lambs are the visual vocabulary I use to express innocence and forgiveness. I intend to create dialogue about diversity and women – for example, a face with open mouth represents women freely exploring and expressing themselves. Women also hold in more pain than they let out and hold each other demonstrating resilience. My most recent series addresses challenges of race and identity. One painting depicts figures from all of the Ethiopian tribes together, celebrating each other’s uniqueness. My inner feelings and values call for the love, embrace and celebration of humanity, transcending past and present, despite our differences. – MERON ENGIDA, 2020 MERON ENGIDA, See the Love, 2020 36″x36″, acrylic on canvas MERON ENGIDA, Solidarity 11, 2020, 36″x36″, acrylic on canvas About MERON ENGIDA Born in Ethiopia, MERON ENGIDA received her degree from Addis Ababa University School of Fine Arts and Design in 2007. She has exhibited her paintings extensively in Addis Ababa, Ethiopia including at the National Art Gallery. Solidarity marks her inaugural U.S. solo exhibition at Morton Fine Art in Washington, DC. She notes, “When I start a painting, there are no rules. Sometimes I work from pictures but most of the time I create from imagination. Sometimes I start with a drawing and other times with acrylic paint on canvas which I layer with tones, symbols, and a motif. The figures emerge with expressive features, emotions, and texture. I work on the paintings with trusting mark-making, not knowing where I’m going. My creative process continues until I am surprised and content and then I revisit later to see if it is indeed finished.” She is represented by Morton Fine Art in Washington, DC. MERON ENGIDA, Solidarity 5, 2020, 30.5″x76.5″, acrylic on canvas MERON ENGIDA, Solidarity 9, 2020, 33.5″x32″, acrylic on canvas Available artwork by MERON ENGIDA About Morton Fine Art Founded in 2010 in Washington, DC 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 Diaspora. Morton Fine Art 52 O St NW #302 Washington, DC 20001 COVID-19 protocol: By appointment. Mask required. Contact the gallery for supplementary artwork documentation such as detail images and short videos. Safe, no contact door to door delivery available. Shipping nationally and internationally.

Morton Fine Art | 52 O St NW #302, Washington, DC 20001 www.mortonfineart.com

360 interactive virtual tour of KESHA BRUCE’s solo “We Can Birth Worlds”

Deeply inspired by her spiritual practice and surroundings in the Arizona desert, Kesha Bruce creates reflective and rich artworks intended to be visual landscapes to dream into in her solo exhibition We Can Birth Worlds.

 

 

About We Can Birth Worlds
Kesha Bruce’s work explores the complex connections between history, personal mythology, and magical-spiritual belief in the African diaspora. Her latest work is concerned primarily with exploring the ways vibrant color and abstract symbols can not only trigger powerful emotion but begin to conjure narratives.

Inspired by the belief that hand-made objects can be imbued with the spiritual energy and the intention of the maker, Kesha Bruce employs a labor-intensive creative process of dying, ripping, knotting and the cutting away of fabric to create each painting. The resulting pieced, patched, and assembled surfaces use repetition and pattern to hint at dream languages or perhaps hidden sacred texts.

A direct outgrowth of her daily spiritual practice, these new works are an effort to translate the expansiveness of the artist’s inner joy and reclamation of freedom into a visual language.
With We Can Birth Worlds, Kesha Bruce aims to create visual landscapes to dream into. Landscapes for present and future Black joy, possibility, and liberation.

 

 

 

About KESHA BRUCE

Born and raised in Iowa, she completed a BFA from the University of Iowa before earning an MFA in painting from Hunter College in New York City.
Kesha Bruce has been awarded fellowships from the New York Foundation for the Arts (NYFA), The Vermont Studio Center, The CAMAC Foundation, and the Puffin Foundation.
Her work is included in the collections of The Smithsonian Museum of African American History and Culture (14 pieces), The Amistad Center for Art and Culture, The University of Iowa Women’s Center, The En Foco Photography Collection, and MOMA’s Franklin Furnace Artist Book Collection.

Represented since 2011, We Can Birth Worlds is her seventh solo exhibition at Morton Fine Art.

Available Artwork by KESHA BRUCE

 

About Morton Fine Art

Founded in 2010 in Washington, DC 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 Diaspora.

Morton Fine Art
52 O St NW #302
Washington, DC 20001

Wed – Sat 12pm-5pm
Sun-Tues by appointment

**Hours are currently suspended to prevent further community spread of COVID-19. Virtual tours and detail images and video available upon request. We are still conducting business in a different and safe way.**

 

 

VONN SUMNER’s “Only Painted Fire” exhibition at Morton Fine Art

On view:

Morton Fine Art

52 O St #302

Washington, DC 20001

(202) 628-2787

http://www.mortonfineart.com

mortonfineart@gmail.com

 

Neo-Byzantine (Red Hot), 2019, 24″x20″, oil on panel

 

 

Betrayal Wall,  2019, 24″x24″, oil on panel

 

El Ingres-Frida (Appropriation of Culture), 2019, 24″x24″, oil on canvas

 

Balloon Dumpster (The Party’s Over), 2019, 16″x20″, oil on panel

About Only Painted Fire

In the summer of 2018, I travelled to Italy to see many of my favorite paintings in person for the first time: the early Renaissance frescoes of Giotto, Masaccio, and Piero della Francesca. Though I was very familiar with the work through reproduction, seeing it with my own eyes was a transformative experience. When I returned home to California, I began a nearly life-size copy of one of my favorite panels of the Giotto frescoes at the Scrovegni chapel in Padua (alternately referred to as The Betrayal of Christ or Judas’ Kiss). I wanted to inhabit the painting, rather than just look at it; I wanted to feel what it was like to make those paintings.   During the process of copying this painting, I became intrigued with Giotto’s stylized depiction of fire, which blazed at the end of several torches along the top of the painting. I realized I had never really painted fire, and for some reason this became an irresistible challenge. At the same time, I was following the news and trying to make sense of the polarized and turbulent political climate of our time. Perhaps due to my newfound fascination with painting fire, certain phrases that commentators and pundits would use grabbed my attention: “dumpster-fire” and “trash-fire” especially, used as hyperbolic expressions of frustration and outrage.    I began to think more deeply about the uses and depictions of fire, symbolically and literally, and the ways in which humans have used fire in rituals. Fire is dangerous and out of control, which also makes it beautiful and sexy and alive. Fire is violent and destructive, which leads to change, regeneration and rebirth. We speak of ‘trial by fire’ and ‘lost torches’; passionate people can be ‘on fire’’ and have ‘fire in their belly.’ In California we have “Fire Season” and “high fire danger” alerts. There are “fire eaters” to entertain us, and parties that “burn down the house” and light “the roof on fire,” etc… All of these phrases and notions have been on my mind this past year as I have painted fire and searched for personal and artistic renewal.   The resulting paintings are not meant as a definitive or conclusive statement, rather as evidence of one painter engaging with the world, following a gut instinct, and doing “research paintings” in order to see what happens. The work can be seen symbolically or literally, or both; and I invite the viewer to bring their own interpretations and resonances to the occasion. No matter how we look at our current cultural moment, regardless of ideology or affiliation, it seems we are living through a time of great change. These paintings are in some way a response to that condition.   – VONN SUMNER, 2019

 

 

Dumpster Fire III,  2019, 16″x16″, oil on panel

 

Dumpster Fire IV, 2019, 18″x18″, oil on panel

 

Dumpster Fire II, 2019, 18″x14″, oil on canvas

 

KOR, 2019, 16″x12″, oil on canvas

 

About VONN CUMMINGS SUMNER

 

Vonn Cummings Sumner grew up in the San Francisco Bay Area, the son of a picture framer and a school teacher. Seeing the art that his father was framing, as well as travel in Europe, Central America and India shaped Sumner’s visual aesthetic during his formative years.

 

He attended the University of California, at Davis, where he earned both a Bachelor’s degree and an M.F.A. in painting, with highest honors. While at Davis he worked closely with Wayne Thiebaud both as a student and as a teaching assistant. Sumner also took summer classes at the San Francisco Art Institute, and is influenced by the Bay Area Figurative movement that centered around that school in the postwar period.

 

Sumner has exhibited nationally and internationally since 1998. He has been featured or reviewed in many publications including New American Paintings, Elle Décor, The Washington Post, The Huffington Post, L.A. Weekly, Art Ltd., Riviera magazine, Hi Fructose, Cartwheel Art, The Painter’s Table, Boom magazine, and Quick Fiction. Sumner has shown regularly throughout the Los Angeles area since 2003, including in a solo museum show- Vonn Sumner: The Other Side of Here- at the Riverside Art Museum in the fall of 2008. A second solo museum exhibition, Vonn Sumner: Stages, followed in 2011 at the Phillips Museum of Art on the campus of Franklin & Marshall College in Pennsylvania. Sumner’s paintings have been shown internationally in Venice, Italy; Manchester, England, and Switzerland. He is represented by Morton Fine Art in Washigton, DC.

 

Only Painted Fire marks his forth solo exhibition at Morton Fine Art.

 

 

Standing Man (on fire), 2019, 16″x12″, oil on canvas

 

Trashfire IV, 2019, 18″x14″, oil on canvas

 

Trashfire III, 2019, 18″x14″, oil on canvas

 

Neo-Byzantine (Japonaiserie), 2019, 24″x20″,  oil on paper mounted on panel

 

A Fire Without a Trashcan, 2019, 16″x12″, oil on canvas

 

Trashfire II, 2019, 14″x12″, oil on canvas

 

Trashfire I, 2019, 12″x9.5″, oil on canvas

 

Link to available artwork by VONN SUMNER

‘Dogtown’ A Solo Exhibition of New Artwork by LAUREL HAUSLER

Artist Laurel Hausler pictured with ‘Noir Rose’, 2018, oil and gouache on canvas, 36″x 48″

‘In my mind, there are three meanings of Dogtown.

There are the “Dogtowns” scattered throughout the US, usually desolate dusty places once frequented by rogues and unlucky outcasts.

There is a Dogtown-THE Dogtown- in Cape Ann, Massachusetts. This Dogtown is a historical abandoned settlement, once populated by outsiders, widows, witches and roaming packs of dogs. Today, it is still a wild place and one that should be preserved. Situated amidst Pleistocene boulders, the area continues to be a source of lore.

This exhibition is the third and imagined Dogtown- a mythical place that combines all of the latter aspects—and their metaphysical reflections. It’s a Blair Witch Project woods, a stony, inscrutable wilderness where women and witches live as they wish with dogs for companionship and protection—a place of ritual, noir and labyrinthian mystery, symbolizing persistence in the face of life’s craggy brutality.’ 

-LAUREL HAUSLER, 2019

ABOUT the Artist 

Laurel Hausler was born in Virginia. She works to create mysterious beauty in all media, and to remember and portray that which might be lost and forgotten. The works in this show are composed of graphite, gouache and oil paint on canvas.

Her artwork is featured in book publications including Cutting Edge; New Stories of Women in Crime by Women Writers, edited by Joyce Carol Oates and Retrograde, by Kat Hausler.

DOGTOWN marks her fifth solo exhibition at Morton Fine Art in Washington, DC. and is currently on view through July 3rd! 

Additional available artwork by LAUREL HAUSLER follow this highlighted link!

ABOUT Morton Fine Art

Founded by curator Amy Morton in 2010 in Washington, DC, 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 anyone can become an art collector or enthusiast, 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

52 O St NW #302

Washington, DC 20001

Wed – Sat 12pm-5pm and Sun-Tues by appointment

For further information and images, please contact Amy Morton: mortonfineart@gmail.com

Washington Post In the Galleries: JULIA MAE BANCROFT ‘Through Glass Lace’

‘Violet’s Window’, 2018, ink, gouache, pencil and oil pastel on paper, 20″x 20″

Julia Mae Bancroft

There are fewer photo transfers in Julia Mae Bancroft’s “Through Glass Lace” than in her previous Morton Fine Art show, but the weight of old photographs remains heavy. The D.C. artist’s mixed-media pictures are almost all in black and shades of gray, with just occasional touches of pale pink or green. Bancroft conjures the past as drained of color but crowded with memories.

Texture is as crucial as image to Bancroft’s style. The pictures incorporate pulp, fiber, papier-mache and hand-stitched embroidery, and they are on sheets of paper mounted to stand slightly away from their backdrops. The layers represent what the artist’s statement terms “a glass lace screen” while “piecing together a fragmented narrative.”

That narrative doesn’t seem to be autobiographical. Some of the photo imagery is older than Bancroft, evoking the 1960s and much earlier times. The same is true of the artist’s technique, notably the needlework. The reminders of traditional women’s crafts ground Bancroft’s ghostly reveries in real-world labor.

~ Mark Jenkins, 2019

Julia Mae Bancroft: Through Glass Lace Through May 22 at Morton Fine Art, 52 O St. NW, No. 302.

‘Thinking of Falling’, 2019, ink, gouache and collage on paper, 22″x 11.5″

Remaining available artworks by JULIA MAE BANCROFT can be viewed here on our website and are also accessible for viewing in person at Morton Fine Art.

Morton Fine Art

52 O Street NW #302, Washington DC 20001

Hours: Wednesday – Saturday : Noon – 5pm

Sunday – Tuesday : by appointment

The Washington Post features MAYA FREELON and AMBER ROBLES-GORDON

In the galleries: ‘Interact + Integrate’ requires audience participation

By: Mark Jenkins

Fabric scraps and damaged tissue paper are the essential ingredients of new work now at Morton Fine Art. Those materials might sound negligible, but Amber Robles-Gordon and Maya Freelon employ them with ambition and impact.

MAYA FREELON, Bubble 2, tissue ink monoprint, 44″x 74″

Freelon’s technique began with what her statement calls a “beautiful accident”: finding colored tissue paper stained by water from a leaking pipe. From this discovery, the North Carolina artist developed a method of bleeding pigment from moistened colored tissue onto sheets of white paper, which are so thick they hang as if they’re fabric.

The larger works in “Rebirth/Rebound” were made with a pottery wheel, so the transferred hues spin with verve and grace. The dominant color is often magma-dark red, framed by black and green and white bubbles that evoke the images’ aquatic origins. The most direct print, “Suspension,” is mostly orange and yellow, which flow with the exuberance of a classic abstract-expressionist canvas. Freelon’s accident yields pictures that are assured and bold.

AMBER ROBLES-GORDON, Kepler 19-b Super Earth, mixed media on paper, 36″x 36″ 

Robles-Gordon, a D.C. native, is known for hanging strands of textiles and other found objects in intricate arrangements. The pieces in her “Third Eye Open” are wall-mounted rather than suspended, and feature circular drawing-collages orbited by smaller rounded objects, some partly covered in bits of garments. The forms suggest zygotes and planets, as well as eyes, but at the heart of each of the larger circles is a leafy motif. Whether seen as cosmic or botanical, the artist’s circling compositions exalt natural cycles.

Maya Freelon: Rebirth/Rebound and Amber Robles-Gordon: Third Eye Open Through May 15 at Morton Fine Art, 1781 Florida Ave. NW. 202-628-2787. mortonfineart.com.

You can view all available artwork by these talented artists here on our website! 

WDC City Paper Spring Arts Guide mentions MAYA FREELON & AMBER ROBLES GORDON

Maya Freelon and Amber Robles Gordon

Toward the end of 2016, Maya Freelon began dealing with issues of rebirth and rebounding: the changes of various identities that happen in midlife. Recent tissue and ink mono prints reflect those transitions, with explorations of more subdued palettes, analogous and monochromatic color schemes. Identity is an issue present in Amber Robles Gordon’s work, as well. For the past year she has been constructing collages that deal with African and Puerto Rican heritage in a patriarchal American society, and pushing against the patriarchy with matrilineal mandalas. While the themes of identity will unify these two solo exhibitions at Morton Fine Art, their kaleidoscopic use of color will likely create the visual complimentary bridge. April 27 to May 15 at Morton Fine Art. Free. —John Anderson

Please follow the highlighted links for currently AVAILABLE ARTWORK by these two fantastic artists and stay tuned for the upcoming fusion of their exciting solo exhibitions here at Morton Fine Art opening April 27th, 2018.

Vonn Sumner’s Solo “Late Empire Style” – Press Release

FOR IMMEDIATE RELEASELATE EMPIRE STYLE Solo Exhibition of New Paintings by Vonn Sumner September 16 – October 7, 2011 _________________________________ OPENING RECEPTION Friday, September 16th, 2011   6 – 8 pm _________________________________  Morton Fine Art (MFA) presents Late Empire Style, a solo exhibition of new paintings by artist Vonn Sumner. The exhibition will be on display at Morton Fine Art from September 16 through October 7,  2011. The opening reception will be held on September 16th from 6 to 8 pm with the artist in attendance.   Vonn Sumner (b. Palo Alto, CA; paintings and drawings): his fancifully eccentric characters appear in paintings which invite the viewer into a strange and isolated parallel world.  Vonn Sumner’s markedly West Coast aesthetic was honored with a solo museum exhibition, The Other Side of Here, at Riverside Art Museum in late 2008.  His solo show Late Empire Style at MFA runs concurrently with the artist’s second museum solo exhibition Stages at The Phillips Museum of Art in Pennsylvania.  An understudy of Wayne Thiebaud, Vonn Sumner received his MFA from the University of California, Davis. His work has been shown in numerous galleries in the U.S. and Europe.Late Empire Style The show features a new series of full-figure paintings and several paintings of truncated and adorned still-life object-like figures for which Sumner is mostly known. The figures appear at first to be warriors from some ancient culture but upon close view they are revealed to be contemporary people, wearing sneakers and wielding not a sword and shield but a common garbage can lid and a comically elongated paintbrush. In a few paintings the “warriors” strike poses of aggression or exaltation, but more often they adopt incongruously downbeat, pathetic postures. Cast against spare and atmospheric color-field backdrops, the effect of these figures suggests a kind of post-modern Don Quixote- romantic, full of conviction, absurdly out of place and out of step. In these figures one can find echoes of depictions of warriors and battle stretching from ancient Greece, Rome, and Egypt, through the Siennese and Florentine Renaissance, to Poussin and Goya, and modern masters including de Chirico and Guston. Beyond mere appropriation, Sumner’s figures perform a kind of rhyming ritual with art from throughout history. More contemporary touchstones include the 20thcentury superheroes of DC and Marvel Comics as well as the tragic and hilarious characters portrayed by the great film clowns such as Buster Keaton. Rounding out the show are some non-figure paintings- buildings, cityscapes, a landscape, a cat- serving as palette-cleansers, providing context, and creating associations with the figures.Based in Los Angeles for most of the past decade, Sumner belongs to a generation of young figurative painters who emerged in the 2000s with work that aimed to redefine figure-painting upward: away from academic preciousness and predictability and toward a more imaginative, metaphoric, and theatrical picture making practice. These painters embrace the craft and tradition of classical figure painting while maintaining a sense of playful irreverence and an eye toward the strategies and aesthetics of Modernist abstract painting, conceptual art, comics and cartoons. Along with artists such as Michael Borremans, Julie Heffernan, and those of the so-called New Leipzig School, Sumner is part of a wave of painters with renewed interest in representation and figuration who have helped to open back up the possibilities for painting people after the seeming exhaustion of the genre felt during the bottleneck of fin-de-siècle art at the end of the last century. The practitioners of this new figure painting favor personal and ambiguous narrative over grand statements, muted or dirty tones over bright and cheery colors, and often share a suggestion of mystical or religious yearnings. In this new figure painting the notion of an overarching narrative is replaced by the suggestive or symbolic relationship between the environments where the figure finds his or her self and the figure’s own body language. The paintings in this show are an excellent example of Sumner’s contribution to this recent strain of painting.