Barbara Januszkiewicz’s suite of paintings named for blues songs. The local artist has explored the style of the Washington Color School in watercolor, but she recently adopted those painters’ favored medium — diluted acrylic on unprimed canvas. Januszkiewicz’s pictures can resemble Morris Louis’s “florals,” yet her style is hotter, with a hint of the abstract expressionism the Color School abandoned. She allows grains of undissolved pigment to show and occasionally applies paint thickly rather than having it seep into the fabric. Such twists don’t revolutionize the Color School style, but they do endow it with welcome energy.
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" Barbara Januszkiewicz hopes the works on display will spark a dialogue about the use of color and her fascination with conceptual link to music. In an effort to show support for the Arlington art scene, Januszkiewicz hopes to use social media to share her work and support for alternative art spaces
Donna Cedar Southworth Sept 2016 Elan Magazine . Seeking Quick Moments , Capturing Color on Canvas.
"Luminous hues flow across the large canvases in transparent waves. They wash over one another, interacting and becoming richer. Against these huge color fields, tiny specks of concentrated pigment shimmer on the surface like reflected sunlight. "
"For me, experiencing the work of Januszkiewicz is a moment of reflection, the recollection of a memory or simply an appreciation of some of the deepest, truest colors I’ve ever seen on canvas. I equate the experience to spending time in the Rothko room at the Phillips Collection. "
Her vibrant abstractions feature swoops of bright and sometimes grainy pigment and recall the sense of motion in Morris Louis’s work. Where Louis achieved his kinetic quality by pouring paint, Januszkiewicz produces hers with oversized brushes.
Januszkiewicz has a flowing, vibrant style akin to that of the Color School’s Morris Louis. But she uses watercolors on paper, which is then mounted on aluminum panels. And she doesn’t pour pigment, as Louis did. The colors are applied with brushes, though she seeks to hide those marks and leave only what she calls “the evidence where the brush floated by.
Washington Post In the galleries: Mark Jenkins June 25 2016