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The use of band is axial in ukiyo-e — acceptable Japanese woodblock prints — and their offspring, the mostly black-and-white comics alleged manga. Rozeal emulates those genres, clay two pieces in this appearance on the assignment of Utamaro, a printmaker in 17th-century Edo (now Tokyo) accepted for assuming angular beauties. But her contempo assignment contrasts absolute renderings with looser, beneath controlled elements. Drips abound in these paintings, and one antic account makes a antic of it: In “The Oobie Kids,” a babe holds a three-scoop ice chrism cone that dribbles a leash of altered colors. Addition painting, a 22-foot-wide mural, arrays 10 Afro-geisha active on a acreage of dejected eight-foot-high drips.

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That awe-inspiring painting is on Tyvek, a paper-like plastic, one of several anarchistic abstracts Rozeal is application to aggrandize and redefine her style.



The appearance additionally appearance works on linen, agenda and wood, whether bare panels or such repurposed items as skateboards and acid boards. On a abate calibration yet absolutely adventurous are baby acrylics corrective aloft reproductions of Mark Rothko abstractions printed on agenda cards. These are beneath interpretations than obliterations.

Rozeal employs both the formats and the agreeable of Japanese art. This alternative includes multipanel works that advance Asian awning paintings, corrective bolt hangings whose black-and-gold blush arrangement anamnesis Buddhist temples, and a account inscribed with the Sino-Japanese appearance for “woman.” But there additionally are a celebration of Freddie Gray, a collage with Egyptian motifs, abundant references to music — Rozeal is a DJ — and a account of a nude whose geisha-white face accentuates her affluent amber skin. About acutely Rozeal attack into Japanese tradition, her destinations are her ancestry and her self.

Rozeal Through Jan. 31 at Terzo Piano, 1515 14th St. NW. Open by appointment.

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Battenfield & Qiao

Delicacy and carelessness are capital to the address of watercolors, which is what Jackie Battenfield paints — array of. The Brooklyn artisan absolutely daubs artificial on plastic: adulterated acrylic colorant on Mylar, on which the agilely affiliated colors assume to abide liquid.



Her subjects, at atomic in several Addison/Ripley Fine Art shows whose latest is “White Light,” are beginning trees. The artisan depicts these with an acerbity evocative of archetypal East Asian attributes painting. The backgrounds are all white, and abounding of the pictures acutely apply aloof two colors. In fact, Battenfield initially mixes assorted hues calm as one. Only as they dry do they abstracted into allegory shades.

Derived from her own photographs, Battenfield’s paintings are astute yet not literal. Their forms are streamlined, and their colors can arise albino or accidentally bright. This suggests the aftereffect of the artist’s angle point, which is staring advancement into the sun’s white light. Boughs arise from the top in best of the compositions, which emphasizes the administration of the painter’s gaze. While Battenfield’s pictures are quiet and gentle, their angle conjures a faculty of awe.

Showing alongside Battenfield’s paintings are four large-format photographs by Cindy Qiao, addition New Yorker. The artist’s “Our Land” additionally contemplates nature, yet flirts with abstraction.



Qiao glances the adverse administration from Battenfield. She credibility her iPhone camera at the arena in parks and area in assorted cities, capturing the acting carpets alloyed of blossoms, leaves, seeds and added amoebic remnants. These images are continued to added than life-size, which heightens the alone capacity while lending the all-embracing scenes a faculty of unreality.

The best active archetype of this is “Shooting Stars,” in which long, cone-shaped aureate leaves arise to band beyond a atramentous backdrop. The black charge be admixture or abundant earth, but the bound framing makes it attending like alien space. By dabbling with scale, Qiao makes landscapes that assume both affectionate and vast.

Jackie Battenfield: White Ablaze and Cindy Qiao: Our Land Through Jan. 23 at Addison/Ripley Fine Art, 1670 Wisconsin Ave. NW. Open by appointment.

Mark Kelner

In retrospect, “Alive with Pleasure!” was not the best byword for a tobacco product. But that tag line, devised by the purveyors of Newport cigarettes, was archetypal of the announcement that awash smoker as healthy, active and robustly masculine. D.C. artisan Mark Kelner challenges such pitches in “Pleasure’s Promise,” a text-only mural on affectation in Ability House D.C.’s alfresco Avant Garden.



The U.S.-born son of parents from the Soviet Union, Kelner generally riffs on the overlaps, whether accurate or conceptual, amid Soviet advertising and Madison Avenue hype. This project, however, is all-American. Rather again the red of the stars that can represent either Macy’s or the Kremlin, the allotment is in blatant orange on blooming — the above colors of Newport’s promotional campaign. Kelner borrows those ads’ annular bygone typeface, but not its words. Instead, anniversary plywood console hawks one declared aspect of the menthol cigarettes and their users: “fantabulous,” “hunky-dory,” “devil-may-care” and such.

Newport cultivates an flush adventurous image, with a accurately abyssal theme. But, as Kelner addendum in his statement, the cast has continued been marketed aggressively in Atramentous communities. That’s why the artisan absitively to arrect his abusive placards in Southwest Washington, historically an urban-renewal battleground. “Pleasure’s Promise” is as abundant about the action of gentrification as it is about the ambidexterity of merchandising.

Mark Kelner: Pleasure’s Promise Through Jan. 31 at Ability House D.C., 700 Delaware Ave. SW.

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