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If there’s a part of an artist’s practice that is in no way conveyed or belied by the work itself, it’s probably not crucial to know about it. That’s certainly the case for the works in “Finca,” a solo exhibition by painter Adam de Boer. For example: The eerie black palm tree that looms in the darkness in “Virgin and Child Under a Fluorescent Light” says nothing about the elaborate music theory that informs the color selection. The paintings’ titles are even listed with matching chords—but it hardly matters. More important is the mix of detail work and loose sketch that mirrors de Boer’s combination of acrylic and oil on single panels. De Boer’s decisions are sufficiently mixed (and sometimes muddled) that any selection—be it to select colors based on musical cues or to listen to music while painting—is arbitrary, at least as far as the viewer’s concerned. What the viewer sees in Finca is an untested artist whose portraits and landscapes of life on a friend’s Colombian farm occasionally evoke another artist who sketched when he painted: George Catlin.
THE EXHIBIT IS ON VIEW NOON TO 6 P.M. TUESDAYS TO SATURDAYS TO NOV. 13 AT FLASHPOINT, 916 G ST. NW. FREE. (202) 315-1310.