Graham Caldwell's untitled piece is another one of my favorites in this exhibition. Every time that I see a new Caldwell, I glow in the knowledge that the D.C. area is so lucky to have not one but two of the best of the new breed of glass artists who are dragging glass away from craft and firmly planting it into the fine arts.

When the history of glass in the 21st century is written, historians will discuss the profound effect on the new directions in glass, so different from each other, that the two D.C. glass geniuses, Tim Tate and Graham Caldwell, cast for the genre while working in the same city.

For Supple, Caldwell has presented a piece that, much like Lukaszewski's, has a subtle sense of being organic and fragile, but unlike that porcelain work, Caldwell's glass and steel sculpture is also (and paradoxically) strong and almost moving.

I say moving in the sense that the piece reminds me of a powerful arterial work, with life-giving power coursing through the delicate glass, married to the powerful steel. It is this paradox, glass and steel, fragility and strenght, life and death (part of the artery is detached from itself) that makes this an "Oh WOW" work of art and a key element of Supple.

I am a big fan of both Linn Meyers and Adam Fowler, but for both these two talented and hard working artists I have one piece of advice: Mondrianism.

Both Fowler and Meyer's works in Supple are superb examples of their current artistic presence; in Meyer's case another one of her delicate ink and colored pencils on Mylar, and in Fowler's case another of his amazing (hard to find another word to describe his process) hand-cut graphite, multi-layered works on paper.  In both cases, the process to create their work is unique, and their individual styles so singular to the artists that a Fowler is immediately recognized as a Fowler, and so is a Meyers.

And thus the potential trap of Mondrianism, or I defined it many years ago, the danger of an artist getting stuck on a very successful process to deliver and create work and failing to explore alternative venues once that process and its associated imagery has been exhausted.

Having said that, it's far from that point (yet) for both these artists, and their contributions to Supple also add to make Kirkland's first venture into the gray-hair-making process of curating an art show a very successful debut, making us looking forward to Supple II.