“New connections build in tangible ways as I create my work. As layers build, imagery compounds, colors mix, and patterns form. I keep my process of working dynamic and playful so that my images can evolve as they are made, in turn, building entirely new worlds.”
Laura Berman’s artist statement about her show “Chromatic Space” not only gives insight to the creative process, but lends a compelling foundation to the sentiments of building a relationship – a creative process in and of itself. When Rachel and Barney booked their wedding reception at Long View Gallery in Washington D.C., it was luck (or fate!) Berman’s work was also on display. Rachel, an art teacher, couldn’t have picked a better time or place to celebrate her own masterpiece: the beginning of her and Barney’s new world as husband and wife.
Rachel & Barney’s invitations had a handmade look with a sketched skyline of DC and graceful script in blood orange and gold. Preparing for the big day, Rachel’s dress hung on an abstract canvas. The energetic complement to more traditional lace became an overarching theme throughout the wedding, courtesy of Rachel’s curious disposition.
The ceremony was held at the St. Aloysius Gonzaga Church in Washington, D.C., an ethereal sanctuary of sweeping Renaissance architecture and gem-like prisms of stained glass. The bridal party matched the subtle beauty of the church’s interior with blush and dusty gold dresses illuminated with glittery accents. Bridesmaids carried delicate bundles of eucalyptus and roses in rich hues of scarlet and pale pink.
At the epicenter of this roving garden was Rachel’s bouquet, a fiery beacon of color and spirit. Wrapped in red roses, calla lilies, cymbidiums, dahlias, smilax vine, and dripping with amaranths, the face of this arrangement was a proud King Protea.
After the ceremony, the party stopped by the Stella Artois – Washington D.C. mural by No Kings Collective in Shaw, a vivacious exclamation of the nation’s capital. The popping lines, colors, and hand lettering highlighted the couples expressiveness and appreciation of art. The groomsmen found their own playful mural and posed in their sharp suits and thistle boutonnieres.
Nearby Long View Gallery a picturesque flowering tree draped over a historic brick wall was the perfect spot for couple’s photos. Rachel's burgundy bridal bouquet especially glowed in the cooling light. The graffiti on site continued the ongoing dialogue of mess and deliberateness, chaos curated and chaos at random, and the natural and human imagination.
The wedding reception at Long View Gallery exemplified organic and industrial beauty: name cards stamped with the DC flag welcomed guests alongside red dahlia and ranunculus. Geometric lanterns adorned tables and floors, their harmonious geometry accompanied by swirls of smilax vines.
Ornamental angles and sprawling greenery reappeared above the head table: wire geometric orbs and lights floated from a smilax cloud amidst the industrial exposed ceiling. Dahlias, roses, ranunculus and eucalyptus returned to grace the dining tables, some encased in linear sculptures sprouted with white specks of asclepias. Wine-colored taper candles in gold candlesticks stood romantically aside the centerpieces. Berman’s art, with its sharp shapes in spontaneous arrays, lined the reception walls in patterns rather floral.
Like Berman’s layered pigments, single flowers transformed into potent bouquets, and Rachel and Barney’s unique experiences together over time, the careful addition of many elements created a finished piece entirely irreplicable and uniquely profound. Rachel and Barney’s wedding was as orchestrated and natural as their new life as one is sure to be.