Artist Portrait: Joan Konkel
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n the works of Joan Konkel, light plays games with your perceptions. It reflects off wire mesh surfaces, and the canvas beneath. Some is absorbed but not extinguished. Bright colors can blend and become mysterious—elusive—as you move about. Dimension is both the perception and the reality. Although hung on the wall, these are low relief sculptures, not traditional paintings. Painted patterns hold the structure together visually, but they are ever changing, like a mountain range at sunset. You don’t tire of looking at them because they are always slightly new. The secret lies in the construction. Layers of mesh flow over and apart from the canvas beneath. Paints that are applied in acrylic can be intense, or diffused in Moiré patterns as colors combine or become isolated. Of course, however ingenious the techniques, or interesting the materials, what really matters is the complete work. And these really matter. The sculptures of Joan Konkel have warmth, even those with muted colors. They exude an inner joy. Joan was an elementary school teacher in California, with degrees in Fine Art. She came to Washington, and took classes in sculpture at the Corcoran, and earned a Masters degree in sculpture from George Washington University. Sculpture, in both definition and prac-
A Capitol Hill artist and writer, Jim can be reached at ArtandtheCity05@aol.com
tice, is a transformation of space. In short, you need space to do it. Joan’s practical answer was relief sculpture and easily managed materials. From those practical demands came the magic. Exploration has become passion. Joan loves the interplay of light. It’s like “exploring the mysteries of life.” She is now pushing forward, finding how far she can move in new directions while staying with the same materials. It is the nature of the materials that allows Joan Konkel, like her work, to be ever changing—touched by ever changing light. www.joankonkel.com.
Jim Magner’s Thoughts on Art Art is more than making pictures. The Niagara (diptych), 48”x 120”x 8”. Aluminum, mesh, acrylic on canvas French painter Eugene Delacroix said art gives value to time. It also gives value to the person projects simultaneously. Up to 800 parking who shares it with others. places are gone. That’s what is so damn important This affects far more than art groups. about the art therapy groups at Veterans Thousands of patients, DC area veterans, Hospital. Men and women share precious who rely on the hospital for life-sustaining treatments and services, must compete for a few parking slots. Who cares? Nobody apparently. It will probably take some disaster to get attention. It is near impossible to park, and fights over an available space are already beginning. Combat vets—of any age—do not like to be brushed aside, and someone could get seriously hurt. As for me, it already hurts that I can no longer be a part of that group, but I will not compete for parking with someone who needs to get inside for critical treatment. I hope some of the wonderful people of the art groups will be able to find ways to get there. Art helps you live not only happier, but longer. It does as much for the body as it does for the soul.
Unfettered. 41”x 75 to 80”x 6”. Mesh, acrylic, tubing, canvas. 100 ★ HillRag | February 2012
time working on art projects for the annual VA Creative Arts Festival…happily. I began as a volunteer almost ten years ago to help improve skills, but stayed as a member of the group—vets who sit around a big table, listen to old jazz, tell jokes, laugh, and also make art. It is worth the hour spent in spirit-crushing traffic to get there. But no more. The Hospital administrators have eliminated most of the parking by initiating a number of construction
artandthecity
BY JIM MAGNER