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Glen Echo Park's Stone Tower Gallery presents intimate exhibitions of work in the Park’s most historic structure. This gallery is a welcoming space for visitors and is well suited to solo or themed exhibitions featuring a small group of artists.
Saturdays & Sundays | 12pm to 6pm
Jen Hudson
Bonnie Zuckerman
RSVP (preferred, not required)
The Stone Tower Gallery presents Wildwood Wonders, a two-person exhibition by artists Jen Hudson and Bonnie Zuckerman. The work in this show depicts woodland animals, including, but not limited to, birds, horses, foxes, and other wildlife. The exhibition highlights the artists’ intricate designs and love of the natural world. Both artists apply their strong storytelling skills to non-traditional mediums, bringing a maximalist energy and sense of wonder to their colorful, luminous, and dimensional works.
ABOUT JENNIFER HUDSON
Jennifer Hudson is an award-winning Maryland-based cut paper artist and painter specializing in wildlife art. She began her career as a painter with an emphasis on realistic nature scenes and fantasy-based illustrations. She graduated from the Baltimore School for the Arts in 2014 with a concentration in painting. After graduating, Hudson became intrigued by the world of contemporary paper art. She uses various sized knives to hand cut delicate works that display movement, texture, and dimension. She combines several layers of cut paper to attain highly detailed three-dimensional works. Hudson’s love of the natural world is evident in the use of flora and animals in her work. Continuing motifs include foxes, birds, horses, and delicate lace-like structures. She became a member of the Guild of American Paper cutters in 2020 and the International Association of Hand Paper Makers and Paper Artists in 2024. Hudson is also a signature member of the Society of Animal Artists. She has shown her work in numerous museums and galleries across the United States. She has sold over 200 pieces of original work. She is a resident artist at Peninsula Gallery in Lewes, Delaware, Principle Gallery in Alexandria, Virginia and The Gallery at Manor Mill in Monkton, Maryland. When she is not creating, Hudson enjoys spending time with her two dogs, Tyrion and Loki. You can view her work online at www.jenhudsonpaperart.com. You can also follow her on Instagram @jennycutspaper.
ARTIST STATEMENT
I cut every detail of my work by hand. I am completely self-taught in the medium of paper cutting. Over the years of exploring this delicate art, I have developed my own signature illustrative style, combining several layers of lace-like paper cuts to achieve a sculptural effect. My pieces are known for my use of intricate hand cut borders that surround my subjects. My heavily detailed images display dynamic movement and texture. Many of my pieces contain 14-17 layers of paper. Every piece is an engineering challenge. I often start with a small proto-type or “mock up” to test that the paper will lay the way I need it to and the image will be legible. From there I can start planning out all the layers I will need for the final piece. When it comes to creating patterns, most of what I cut is free hand. I rarely draw out my designs before cutting them. I prefer the spontaneity and fluidity that comes from creating on the spot. I enjoy challenging myself to create new elaborate designs. I have always been an avid animal lover and enjoy documenting the natural world in my work. Most of my work is inspired by the landscapes, wildlife, and flora around where I live. My subjects primarily include foxes, birds, horses, and other creatures native to north central Maryland. It is my goal to capture the movement, story, and spirit of the animals I portray. I want the viewer to feel engaged with the story unfolding in the scenes I depict.
ABOUT BONNIE ZUCKERMAN
Bonnie Zuckerman creates highly detailed hand-painted ceramics. Bonnie graduated from Towson University with a degree in Illustration and studied painting in Florence, Italy. A resident artist with Howard County Arts Council, she exhibits throughout Maryland, Virginia, Washington, DC, and Pennsylvania. She was a Gallery Artist with Horse Spirit Arts Gallery in Savage, MD from 2017 to its closing in 2023, and continues to show at Highlandtown Gallery in Baltimore as well as Gallery 564 in Severna Park, MD. Bonnie’s work has been featured in shows at the Columbia Art Center, Howard County Center for the Arts, The Meeting House in Columbia, Maryland Federation of Art, Strathmore Mansion, the Gallery at Manor Mill, and Washington County Arts Council.
ARTIST STATEMENT
It is a constant surprise to me that not only am I a working artist, but in a three-dimensional medium. I always wanted to be an artist, but felt most comfortable in two dimensions, with a brush in my hand. When first trying my current medium, painted ceramics, I was instantly entranced by the many realms of possibility by painting on a three-dimensional piece, and by the ability to create a stained glass feel through the use of liquid wax. I was also inspired by the ability to create something so intricate and detailed from a seemingly modest medium—plain bisque, wax, and glaze.
Over the years, I have become passionate about continuing to explore the possibilities of the ceramic medium, learning a wide variety of surface techniques and getting to know more behind the mechanics of ceramics. I consider myself a lifelong learner and am constantly taking art workshops and classes to further build my skills and hone my creative process. This has enabled me to continue to bring fresh material to my work while challenging myself to take on more difficult pieces.
Since first beginning to paint on ceramic, I have evolved my own distinctive style and a wax resist technique that I use to create the kinds of highly detailed images that most speak to me. A maximalist by nature, I want to almost overwhelm the viewer with the beautiful details of nature in different layers around each piece. I also love to explore symmetry, repetition, and the use of negative space to create unusual shapes. I want to tell a whimsical story and incorporate common imagery from my personal visual lexicon—for example, the way I visualize a bee or a cypress tree versus how it appears in real life. I am passionate about the natural world and always seeking to learn about different plants, animals, and places to bring to life through my art. My favorite subjects include birds, fish, insects, flowers, and fairy tale landscapes.
I start with a plain bisque and look for inspiration from the shape of the piece itself, or often draw on meditation and my travels to spark the concept for a new design. I use liquid wax to paint tiny outlines of my images, and then fill in the designs with a multitude of vibrant colors—sometimes up to 6 or 7 colors in a tiny leaf. I rarely sketch or plan images in advance on paper, but often will paint designs quickly with just water before committing to them with wax, which is unforgiving and difficult to remove.
Each piece of my painted ceramic art is a personal journey, often taking 20-40 hours of painting for the design. In addition, I always paint images on the back of the piece that are just as engaging as the front—this provides the viewer a wonderful surprise as they flip over the piece. This is one of my favorite aspects of sharing my work—seeing the viewer’s delight in the unexpected additional designs, which are often even more intricate than the front, as the backs are my experimentation ground for new designs.
I want each piece of my art to bring the viewer something unexpected and beautiful from nature—we have so many struggles and hard times throughout all of our lives that if I can make something that brings a viewer joy, I have accomplished my goal as an artist.
The Stone Tower Gallery presents Once and Again, a solo exhibition by artist Dominie Nash. Nash’s most recent textile collages consist of repurposed and transformed work and materials. This is a process the artist has been engaged in for many years and has found renewed interest in during the last few years. Searching her past work, Nash identified finished pieces, as well as fabrics and printing dropcloths, that no longer interested her or related to her current body of work. She then transformed the work, creating a new “canvas” to work on , “a sort of pentimento,” giving the original work new life while not completely obliterating it.
ABOUT DOMINIE NASH
Dominie Nash is a self-taught textile artist working in a studio in Washington DC. Her work is included in the collections of the International Quilt Museum, Renwick Gallery, International Monetary Fund, Braintree District Museum (England), Kaiser Permanente, San Jose Museum of Quilts and Textiles, and DC Art Bank. She is a recipient of 2001 and 2012 Individual Artist Awards from the Maryland State Arts Council and a 2010 Creative Projects grant from the Arts and Humanities Council of Montgomery County (MD), and she has received awards in juried exhibitions. Nash has exhibited widely in group exhibitions, most recently at Brentwood Arts Exchange and University of Maryland Global Campus. She has exhibited in Europe, Canada and Japan with the European-based group QuiltArt and has had numerous solo exhibitions in the DC area and around the country. Her work will be exhibited in 2026 at the Delaplaine Art Center in Frederick, MD. Her work has been published in Art Quilts Unfolding, Artistry in Fiber Art, Art Quilt Portfolio: The Natural World, Quilting Art by Spike Gillespie, 500 Art Quilts, Surface Design, American Craft, DEmbroidery, Quilt Art by Kate Lenkowsky, The Art Quilt by Robert Shaw, and Fiberarts Design Books 2-7. Most recently her work has appeared in TextilKunst magazine, Inspirational Magazine, Issue 71 and the SAQA Journal Gallery Exhibition in Print, December 2024.
ARTIST STATEMENT
Whether a particular piece is representational or abstract in nature, I work in a collage-like manner. The layers that result from overlapping of forms, lines, and fabrics are of particular concern to me, creating a sense of mystery and depth. I hope the viewer will return, and see more and different things at each viewing. The coloring and patterning of the fabric is an essential element in my attempt to achieve this goal; the uneven and serendipitous results contribute to the spontaneity and expressiveness of the work, though the composition may be planned in advance.
Review of Dominie Nash: Once and Again in Washington City Paper “Luna Shadows and the Chocolate City Experience: City Lights for Aug. 7–13" Stephanie Rudig (8/08/25)
RSVP (preferred, not required)
The Stone Tower Gallery presents Whispers and Ghost Kisses, a solo exhibition by artist Saaraliisa Ylitalo. The artist writes, “When someone close to you dies, often after this moment in time, you experience reminders of that person. They come out of the blue, from hearing a song on the radio or seeing a flower, going to a restaurant and even from something someone says in a certain way. It can be a quick spark or sometimes even a jolt that makes us remember who has left our lives. These moments for me after losing my husband usually made me sad. Recently I have thought of them differently and now they seem not so painful. If I think they are a ghost kiss from him, these seemingly inconsequential moments make me smile. They make me remember and the memory is gentle and joyous.”
ABOUT SAARALIISA YLITALO
I am a global nomad. In my childhood, my father’s job took us to several countries. Then after college my late husband’s career took me to many more. I established my art practice young, and it was easy to work all over the world. The influence of so many cultures has formed me as a person and an artist. Living in so many different cultures gives me a privileged global perspective that is always with me. Being immersed in many cultures with all the different visual influences and expressions has nourished me. It is hard to say if living in Japan where the esthetics can be much more spare than Western design, or being surrounded by all things Finnish as a child, or studying Incan art in Peru, or my own particular introverted sensibilities has watered the seed inside me to create my work. I like to think it is a combination of all these things.
I began my interest in textiles just before college when I participated in a program in weaving at the Ontario College of Art. At University, I continued to study art and was able to do an independent study in Textiles. I was a weaver, but really interested in anything textile. During my professional journey I lived and taught abroad in Costa Rica, Japan, Peru, and South Africa. While in Kyoto for five years (1990-1995), I fell in love with Washi (handmade paper) and studied with a master papermaker. My work since that time uses handmade paper (either mine, Japanese, Thai or Korean) and a myriad of fiber and paper techniques. Paper is a non-woven fabric, therefore I do not feel as if my work changed direction, I only changed some of the materials. I still dye and sew and manipulate the work as if it were cloth that I wove.
An artist reflects what they see and what they feel to share with others. Life has a way of guiding us in our work. My husband and life partner of 40 years died suddenly in October 2015. I could not work in my studio for months. When I began to work, I chose to look at the emptiness, the isolation, and the silence left by grief. I feel the best way I work is to communicate our common human conditions. Time has passed, but the work still reflects how it feels to be human.
ARTIST STATEMENT
The painter Agnes Martin said: “Everything, everything, is about feeling - feeling and recognition.” Her work was about her inner life and awareness of it, as is mine. I have always felt that I try to make our common human conditions and emotions visible in my work; fear, despair, depression, loss, but also hope, joy, and an inner knowing or calm.
I employ techniques that require a considerable time commitment. I really relish that time spent with a piece.
I have always said that my work was about my emotional “weather,” between turbulent and calm times. Between hope and despair. Really about broken places and how I deal with them.
Now I feel the ocean is a better metaphor. On its surface it can be stormy, choppy, undulating, or placid, but underneath it is mostly tranquil. Whereas before the work was about the turbulent surface, currently it is about the quiet calm of the ocean floor. Expressing visually our shared human emotional experiences is what I have always strived to communicate.
Review of Saaraliisa Ylitalo: Whispers and Ghost Kisses in DisCerning Eye “Earth Tones: Nature takes many guises in Kay Jackson's art. Also: Dominican prints, Combs and Cole McInturff's nuclear alarm, and Ylitalo's ghostly vestiges" by Mark Jenkins (7/09/25)
The Stone Tower Gallery presents Evolving Worlds. Arranged as a natural history museum display, this show features works by artist Eric Celarier in collaboration with Anne Burson seeks to describe nature’s indifference and its propensity for radical reorganization. By reimagining cast off objects of plastic, cardboard, glass, and junk steel as newly evolved fauna and the sounds they produce, the work presents a world in flux—one that does not throw away matter, but absorbs and reforms it to confront current conditions, adapting to not only the presence of humans but our detritus as well.
ARTIST STATEMENT
Growing up within walking distance of the Smithsonian’s National Museum of Natural History, I learned to place myself in the context of a vast history of animals, consider humanity from an academic perspective, and ponder our future in terms of the effects of our lifestyle of consumption upon the creatures with whom we share our planet.
Sustaining the look and feel of a collecting institution, I cover the walls with mural-sized hangings, which record repeated impressions of garbage, made with a technique adapted from Japanese fish printing. My sculptures, using materials that would be otherwise discarded, anticipate how creatures might appear in a future indelibly changed by human existence. In contrast to the stationary presentation of living beings, my videos inject an element of movement into the imagined future ecosystem.
To round out the multisensory experience, I collaborated with musician and sound artist Anne Burson. Her works—Biophony I and Biophony II—are inspired by the theory that distinct species within an ecosystem occupy distinct acoustic niches and present rich layers of animal sounds in imagined ecosystems. Yet, in these sound compositions, the high-pitched whirring of insects, the mid-range warbling of birds, and the low-frequency howls of mammals are replaced by the whirring, spinning, whistling, scraping, and vibrating of objects fashioned by and for humans.
ABOUT THE ARTISTS
Eric Celarier is an active artist, curator, and presenter. He has had solo exhibitions at Artists & Makers (Living Mechanics), Mosaic Arts Gallery (Future World), and National Institutes of Health. He also participated in group shows, including Super Natural, with Stuart Diekmeyer at Portico Gallery, and WOW Part 5. He curated the Human Nature show at DC Arts Center’s gallery and currently hosts the Becoming a Professional in the Art World Series for Washington Sculptors Group. He was born, lives, and works in the Washington, DC Metropolitan Area. He received his B.A. from the University of Maryland and his M.F.A. from the University of Cincinnati.
Anne Burson is a California-born musician, composer, and music teacher living in the Washington, DC area. She earned an M.S. degree in Conflict Analysis and Resolution from George Mason University and a B.A. in Music and Anthropology from the University of California, Santa Cruz, where her interest in environmental issues took root and where she became fascinated with “found sounds.” Other artistic projects include composing and arranging choral music, playing percussion with local wind ensembles, and recording real life biophonies.
Review of Eric Celarier: Evolving Worlds in DisCerning Eye “Looking At, Beyond, or Within: Ordinary or fanciful from Lauren Scavo-Fulk and Eric Celarier; cosmic or internal from Lia Halloran and Imo Nse Imeh; untraditional quilting from Sheila Crider” by Mark Jenkins (5/28/25)
The Stone Tower Gallery presents Pieced/Pierced, a solo exhibition by artist Rowena Federico Finn. This show explores the tension between fragility and resilience, tradition and transformation. The act of piercing—through shells, fabric, and canvas—mirrors the way identity is shaped by both pain and precision, with each stitch binding together fractured histories. Like her quilts, Finn’s life and experiences have been carefully pieced together, creating a narrative that is both personal and universal. Through this work, Finn examines what it means to mend, to break, and to redefine belonging.
Artist Statement
My work explores identity, belonging, and rejection—their inherent power and the rippling effects they have on families, communities, and the world. As a Filipina-American, I merge personal experience with indigenous Philippine materials to examine how patriarchy, misogyny, consumerism, and colonialism carve deeply into both the human spirit and the land itself.
Through meticulous hand-sewing and labor-intensive processes, I create space for reflection on the destructive nature of these power structures—how they erode authenticity and sever our connection to our roots and the Earth. My practice is a means of reaching back to my indigenous ancestors, reviving and strengthening that lost bond.
Capiz shells and quilting hold deep significance in my work. Capiz, or windowpane oysters, appear delicate and translucent, yet they possess an unexpected resilience—much like people, whose true nature is only revealed upon closer inspection. Quilting, deeply rooted in American traditions, particularly within white and African-American communities, has little presence in Filipino or Filipino-American culture. By incorporating capiz shells into my quilts, I create a new visual and cultural language—one that speaks to the experience of being neither fully of one land nor the other, forging a path that bridges histories and redefines tradition.
Artist Biography
Rowena Federico Finn is a Filipina-American multidisciplinary artist whose work is deeply informed by her roles as an art educator and community activist. Blending meticulous craftsmanship with extensive research, she employs a diverse range of materials—including indigenous shells and fabrics—to create distinctive Filipina-Futurist works that bridge her Filipino heritage and American upbringing.
Through the traditionally "womanly arts" of sewing and craft, Finn’s intricate sculptural pieces invite close examination, drawing viewers in with their delicate appearance before revealing unexpected strength, sharpness, and complexity. Her work explores themes of identity, authenticity, community, and belonging, offering a nuanced dialogue on tradition and transformation through a Filipina-American lens.
Finn lives in Virginia Beach, VA, with her husband and three inspiring children.
Diego Borgsdorf Fuenzalida | Woven Ground
The Stone Tower Gallery presents Woven Ground, a solo exhibition by artist and ethnographer Diego Borgsdorf Fuenzalida. The exhibition uses textile sculptures to map the emotional topographies of the afterlives of 20th century political violence in trans-pacific Chile. ”While much scholarly and public attention has been (rightfully) paid to studying the history of political violence and dictatorship in Chile and Latin America more broadly, the roles of non-human, affective, and environmental actors in political violence is less theorized,” says Borgsdorf. Using critical materials like copper, salt, wool, and cotton, Woven Ground is a celebration of weaving as a daily rhythm of and gesture towards verticality.
Artist Statement
The soft sculptures, weavings, salt crystallizations, quilts, and videos I make are not images, but rather, textures. They congeal and materialize what it feels like to live a life in the emergent trans-Pacific diasporas following 20th century dictatorships—a life after apocalyptic violence, loss, grief, and unknowability.
Throughout the 20th century, extractive mining and agricultural projects in Chile have spurred forms of political violence. Local activism to resist extractivism—for example, the movement to nationalize copper production in the 1970s—have been met with swift and unrelenting repression. It is from this history that the Pinochet civic-military dictatorship (1973-1990) emerged and brutalized its opponents. Despite the nation returning to democratic rule in 1990, the post-dictatorship era is continually haunted by controversies surrounding accountability, justice, and truth. For, while Pinochet’s junta has long been gone, the economic and political institutions he created live on, and Chileans contend with extreme economic inequality and neoliberal economics prioritizing free trade over social services. The dictatorship’s unresolved legacies continue to define Chilean public life. Yet, the roles of the critical materials — copper, wool, salt, and cotton, amongst others — in the formation and maintenance of these economics continue to be overlooked.
As a diasporic Chilean, I work in a trans-Pacific world thrown together in the face of the mass migration of Latin Americans in response to extractivism, political persecution, and economic inequality. My work as an ethnographer documents the stories and images of this worlding. As an artist, I am interested in how critical materials associated with this history can be assembled in ways that capture how post-dictatorship life feels. In my installations, I utilize my ancestral textile traditions to create affective exchanges, whereby the materials and objects I work with have the potential to sweep viewers up into the uneasy and ambiguous feelings about history, memory, and violence that haunt the trans-Pacific world.
Artist Biography
Diego Borgsdorf Fuenzalida is an emerging Chilean-American fiber artist and ethnographic researcher, working in Washington, DC and Los Angeles. His work combines experimental ethnography and South American weaving, natural dye, and soft sculpture traditions to highlight the afterlives of 20th century political violence in Chile and the broader trans-pacific world.
Borgsdorf’s practice focuses on the afterlives of the Augusto Pinochet civic-military dictatorship (1973-1990). Understanding that the dictatorship’s beginnings lie deep in Chile’s copper mines and its afterlives in the rubble of abandoned torture camps, Borgsdorf theorizes with critical materials such as berries, sheep’s wool, copper, cotton, and salt to investigate the roles of non-humans, affect, and rubble in the production and memorialization of violence.
Borgsdorf has exhibited in curated group shows at Room 3557 (East Los Angeles), Mile 44 (Los Angeles), Launch LA, and the Korean Cultural Center of Los Angeles. His artwork and research have been published by the Museo de la Memoria y los Derechos Humanos (Santiago, Chile) and En Tránsito gallery (Santiago, Chile). In 2024, Borgsdorf was an Iburra Arts and Research Resident at Blue Light Junction (Baltimore, MD) and an AllPaper Curatorial Seminar Fellow at the Benton Museum of Art (Claremont, CA), and he has held curatorial roles at Los Angeles Contemporary Exhibitions and multiple National Park Service institutions. Borgsdorf graduated with a BA in Anthropology from Pitzer College with studio training in ceramics, fiber arts, video art, and printmaking.
Review of Diego Borgsdorf Fuenzalida: Woven Ground in Warp DMV “On View: Ft. Glen Echo Park, Hamiltonian Artists, Art Enables + Predictions” by Shelby Hubbard (2/26/25)
Artist Statement
Jill McCarthy Stauffer’s work explores the transmutation of natural spaces through memories, myths, and digital manipulation. In local and coastal ecologies, they see metaphors for transformation, growth, cycles of death, and the hope for restoration. Mixed media installations combine personal experiences of light, sound, and shape in nature with scanning and natural samples in order to unify both qualitative and quantitative experiences of natural places. Stauffer negotiates the increasingly interconnected relationship between technology, memory, and nature — the quality of the representation of natural landscapes in digital interfaces, built with materials mined from the earth, increases as the natural environment is further degraded. At the core of the work is a sense of anticipatory grief - of fear for a future where natural spaces are primarily experienced through digital media in the absence of the original, and how this shapes our relationship with the natural world.
Artist Bio
Jill Stauffer is an installation artist from Pembroke Pines, FL, currently living in College Park, MD. They are a third year MFA candidate in Studio Art at the University of Maryland, College Park where they also work as a Teaching Assistant. In 2019, Jill received a BA from Middlebury College with majors in Studio Art and Architectural Studies. Jill has participated in artist residencies with NE Sculpture, Josephine Sculpture Park and Snow Farm. Notable exhibitions include the Rhode Island State Council of the Arts Juried Exhibition at TF Green Airport, Currents at NE Sculpture Gallery, and LevelUp at the Brentwood Arts Exchange, where they received the Juror’s Award. Jill’s research at the intersection of art and technology has been recognized by their reception of the ArtsAmp Interdisciplinary Grant and the Clarvit Research Fellowship from the University of Maryland. Their work has been featured in articles by the Washington Post and the Independent RI. In addition to their art practice, they have worked in support of community arts organizations as an arts administrator and teaching artist. Jill creates mixed media installations that explore the transmutation of the natural environment through digital documentation, artificial replication, storytelling, and memory.
Exhibition Concept Statement
If Saltwater Heals Wounds features three new media installations that reference the coastal ecologies of southern Rhode Island, as warped through the memory and digital replication of the artist. Stauffer negotiates the increasingly interconnected relationship between technology, memory, and nature - the quality of the representation of natural landscapes in digital interfaces, built with materials mined from the earth, increases as the natural environment is further degraded. Starting with organic coastal debris collected in these ecologies, Stauffer explores how different methods of documentation (2D scanning, 3D scanning, photography, video recording, and audio recording) augments and alters memories of light, sound, shape, and movement in the environment. Using the products of these documentation methods (3D models, images, recordings), Stauffer devises digital replicas of natural phenomena occurring in these ecosystems as a method of preserving their own memories of these natural spaces in an era of rapid change.
The Stone Tower Gallery presents A Momentary Immersion, a solo exhibition of drawings by artist Susan Stacks. These drawings are records of a moment of processing. They are fields to review potential problems, identify hierarchy and community among subjective features, and opportunity for convergent problem-solving.
Artist Statement
This series is about finding comfort in interstitial spaces – the formless, liminal forms we’re squeezed through or trapped under that become more personalized and intimate than any intended destination or purpose. Flattening types of actions, counts, pressures into shades, shapes, and dots recontextualizes the trials of one location and lays it out on another landscape for assessment. The finished work is a record of this processing, a depersonalizing of problems to find convergent solutions in their structure.
Artist Biography
Susan Stacks lives and works in the Washington, D.C. area. She received her MFA from the University of Michigan and shows with Adah Rose Gallery in Kensington, MD.
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