Abel Contemporary Gallery Announces Three New Exhibits Diane Washa – Biophilia Madison artist Diane Washa uses oil paint to interpret the landscape and make it her own. Through direct observation, she creates paintings that are sometimes soft, other times dramatic, but always with the sensitivity of a poet. Washa has been witnessing the landscape long before she began painting it. "We discover why we're passionate about art when memories come on strong or moments of transcendence remind us of what and who first sparked our artist drive." When Washa talks about the locations where she paints, the people she meets along the way become an important part of the story. "Painting in plein air isn't just about creating a piece of art in a beautiful setting. It's the journey of finding that place and the beautiful people I meet along the way." Group Show: Cups Perhaps the simplest, most utilitarian vessel, the cup possesses an immense history and enormous formal variation. This exhibit showcases cups in their many forms, and we are pleased to include work from over 40 artists from across the United States. Kurt Anderson, Gabs Conway, David Swenson, Wendy Eggerman, Andrew Linderman, Lydia Johnson, Katie Fee, Gerard Ferrari, Sanam Emami, Chance Taylor, Nadia Niggli, Bianka De La Cruz, John J Richard, Lynda Ladwig, Courtney Martin, Jonathan Walburg, Julia Gallo-way, Tyler Quinton, Nancy Kubale, Joanne Kirkland, Rachelle Miller, Tim Kowalczyk, Ryan Myers, Charlie Olson, Juliane Shibata, Tom Jaszczak, Ted Neal, Kate Marotz, Karl Bor-geson, Stacey Hardy, Delores Fortuna, Kyle Johns, Nick DeVries, Jenni Brant, Margaret Bohls, Brian Kluge, Wendy Olson, Shumpei Yamaki, Mike Strumbas, Debbie Kupinksy, Craig Clifford, and Wes Brown. In no. 5: Dinner for Two Leftovers by Connie Noyes Dinner for Two Leftovers extends Noyes' research into mourning by exploring the visceral responses of bodies and emotions intertwined with loss. Through photography, installa-tion, movement, video, and sound. The artist delves into themes of grief, cultural memory, and both individual and collective healing. What began as a personal inquiry extended to address collective grief related to global warming with a focus on water. Drawing on the Hydrocene theory, which shifts eco-aesthetics to "think as water” rather than merely "about water,” Noyes believes that by sharing grief, we can rediscover our most profound humanity.