My position as Director of Exhibitions and Cultural Programs at the National Academy of Sciences can best be described in one word – privilege. It is a privilege to present work that explores the inexhaustible intersections of art and science. It is a privilege to be the liaison between artists who embark on this exploration and the community that visits our space.
However, the moments of greatest personal pleasure occur when, after months of research and preparation, the artwork arrives and is uncrated at the gallery and the exhibition is actualized by the installation. In the case of Valentina DuBasky’s exhibition, Riverbirds and Rainforests, I was denied this moment due to illness. My colleague, Alana Quinn, who participated in the planning and research of the exhibition from the beginning, was able to step up to bat and direct the installation in my absence. This unusual circumstance provided me with an unexpected and serendipitous opportunity, allowing me to walk into the space after the installation and experience it anew much like a first time viewer. I was overwhelmed by the experience. As I entered the space, my mind flooded with thoughts, both emotional and rational. I sat down immediately in the middle of the gallery, surrounded by the paintings, and began journaling in an attempt to organize my thoughts.
The gallery space itself, with dark wood panels that extend from floor to ceiling forming organic, curing walls, mimics a natural cave-like environment better than the sterile white walls and sharp angles of a traditional exhibition space. This gallery provides an appropriate homage to fundamental inspirations for the work – Buddhist cave paintings and ancient petroglyphs. What thoughts must have entered the minds of the nineteenth century explorers who, as members of scientific expeditions, encountered those ancient records? Like an explorer, DuBasky’s paintings are based on her travels from the caves of Europe and along the Silk Route to the rainforests of Indochina. Her work finds inspiration in the cranes of Tibet as well as the mythic art created by the world’s first people. What a sense of time and place in the history of thought and exploration one feels as one contemplates our connection with those who have journeyed before us.
The cords struck by the vibrant colors and rich textures of these paintings resonate in the space with the power of medieval stained glass windows in a dark gothic cathedral – the manifestation of divine light. The tradition of installing stained glass windows in a dark gothic cathedral – the manifestation of divine light. The tradition of installing stained glass in otherwise dark structures preserved biblical histories and church dogma while providing objects for meditation. Similarly, DuBasky’s paintings alter our gallery space, offering a focal point for contemplation on ancient and contemporary themes. Dubasky continues the ancient yet evolving tradition of utilizing art to record, communicate and preserve not only known fact, but also the inexpressible nature of the human journey.
On behalf of the Office of Exhibitions and Cultural Programs, I would like to thank Valentina DuBasky for the passion of her paintings and for exhibiting her work at the Natioanl academy of Sciences. I would also like to thank her gallery director Cheryl Pelavin for her support in organizing this exhibition and Alana Quinn, our Outreach Coordinator, for her dedication and commitment to our mission.
JD Talasek, Director
Exhibitions and Cultural Programs
National Academy of Sciences
Washington, DC
Click here for images from the exhibition
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