Art curator

The Liminal Space

For artist Yuko Adachi, art transcends the reality in which we live. She creates from the depths of her spiritual understanding and translates those messages into her artwork. Creativity is unique for every artist, and that is what makes each process a fascinating void in understanding how art is created, as well as how it is interpreted and received by the viewer. For Adachi, the process of art creation comes from beyond what the eye can see. It comes from beyond simply getting inspiration from a tree or a landscape; it digs deeper and also connects to the unseen realms or liminal spaces that we, as humans, all have access to if we want to explore that metaphysical reality.

Process

“Universe knows and forgives” by Yuko Adachi.

Adachi’s process stems from her understanding of the balance between taking the time to complete a piece and the technical elements that contribute to this process. However, there’s also a significant component that occurs through Adachi’s spirituality. 


While some artists draw inspiration from their surroundings or travels, Adachi’s creations stem from the messages and visions she receives through meditation, channeling them into her mind and then onto paper or canvas. 


Adachi explains how she started her path as an artist:


“High school was a pivotal time—those were the years I truly began tapping into my gifts. Looking back, I now realize that I was already channeling higher realms while creating abstract art, although I didn’t yet have the words for it. I would lose myself in the process, locking myself away for hours, completely immersed, asking my family not to disturb me. When I finished a piece, I remember feeling something sacred had taken place… something beyond me. I would look at my own work in awe, sometimes even moved to tears, unable to fully comprehend that I was the one who had created it. I felt so proud, mesmerized, and humbled at the same time. The energy of the art I created filled me with so much light. Now, I understand that what I was experiencing was Lightcode activation. I was serving as a vessel/channel for something far beyond my personal self.”


The process of “channeling” occurs when you are in a heightened spiritual state, allowing you to see visions and hear messages of what is appearing to you, including ideas, colors, shapes, and textures. It's like a dream, but you’re not necessarily dreaming. When channeling, you remember what is being seen and heard, and then share this information with the world in your own way, allowing people to receive the information they are meant to obtain. 


One of the beauties of Adachi’s work is how intentional her pieces are. The themes can range from energetic protection to amplifying your own gifts to even our connection with the natural world. The artwork fosters a more profound sense of awareness of the seen and unseen as a human, and how these aspects assist us to become the best versions of ourselves and our fellow people on this planet.



Divine Connection

“infinite possibilities” by Yuko Adachi.

You will find that Adachi’s artwork connects to spiritual aspects that are part of the unseen world. Yet these aspects are meant to speak to the viewer about why they matter and the connection between what we see and what we do not. If there are aspects we do not yet see, then we should consider opening our minds to why these things matter.


She is an artist who sees what is within us and what is outside of us, particularly in terms of energy. It can be something as small as feeling inadequate to something bigger, like wanting to know your purpose in life, as both of these ideas are related to your own energetic power and relationship with a bigger force and calling. It is through her work that we can tap into those parts of ourselves that perhaps we hadn’t considered before, and how those parts interact with the universe through our own actions and the energy we carry within our bodies and auras, also known as energy fields. There is much fluidity to her painting technique, where even the smallest detail or texture has an intentional purpose behind it. There is a dance between the objects in her artwork, among themselves, through symbolic colors, and through symbols that are also hoping to stir something within you.


Adachi explains the connection to spirituality through her work:


“I love this question because, to me, art is spirituality. It is a divine tool. It is a visual medicine gifted by the Universe to help humanity express and communicate with the Divine. Art and spirituality are inseparable, just like the sky and the stars—one holds space, the other shines. As a Lightcode channel, I am fully aware of my ability and the cosmic responsibility that comes with it. In art school, we were asked to write an artist statement, and to this day, my core message remains the same—only my vocabulary has evolved to express it more clearly. “

Each piece has a strong sentiment behind it, prompting the viewer to consider how the artwork relates to its title. In “The Universe Knows and Forgives,” you see rich colors, as well as feathers, which can symbolize birds and angels; both beings are seen as messengers. But there’s also a watching eye overseeing the whole scene, and that can be seen as the all-knowing eye, or the eye of God, or the eye of the universe, which knows it all and sees it all. Yet the eye looks gentle and loving, as we imagine God to be, as a being who forgives our mistakes.



Symmetry

“Galactic rememberance” by Yuko Adachi.

The concept of “sacred geometry” is something that you encounter throughout Adachi’s work. It stems from a spiritual perspective that suggests God or a divine source creates through symmetry and geometrical shapes that are proportional and, of course, symmetrical. It allows things and energy to grow and expand in this way, as they are symbols of different energetic powers throughout the universe. For instance, the drawings known as “mandala,” which are prevalent in Hinduism and Buddhism, are geometrically derived with the purpose of showing focus on one point and then expanding outward from there. 

Studies suggest that sacred geometry is a crucial component in the creation of our universe, particularly through the interplay of lines and space. There is an underlying focus on geometry within each of these sacred geometry pieces in Adachi’s work, where the way lines are connected and the types of shapes hold a specific spiritual meaning and message. 

She says:


“I have always been a deeply spiritual artist, but a major turning point came in 2021, when I received a clear divine message: 'Bring Lightcode activation art to protect the homes of people on Earth.’ This was the first time I received a specific divinely assigned mission. In mid-2023, I completed Home Protection, a transmission encoded within sacred geometry to serve as an energetic activation and shield for those who welcome it into their life and their space. You can read more details about its cosmic transmission on my website—it’s a deeply powerful piece, not just for me but for those who feel called to receive its activation.”


Concluding Musings

“Natural Selection II” by Yuko Adachi.

Adachi’s pieces are so much more than meets the aesthetic eye. They speak to us at a soul level with a higher power that we cannot see, but we do feel, even in unexpected moments throughout our lives, through sadness or small miraculous moments. We can believe that there are greater forces at play, and that is what Adachi’s artwork is here to reveal to us.


She speaks about the purpose of her artistic journey:

“Coming from an artistic background with a focus on healing and elevation, I find it deeply nourishing to balance my roles as both an artist and a shaman. Serving souls through energy healing and my deep connection to crystals is both fulfilling and joyful, while creating art is pure bliss—nourishing and healing for my own soul. I need both worlds to stay aligned and balanced and to fully honor my energetic calling. For visionary and clairvoyant artists who channel higher realms in service of the light, I feel that shamanic work is a natural extension of their gift. When you’re working with energy, stepping into sacred space, and channeling Lightcodes from cosmic consciousness, you are already”


There are layers to us and this world we live in. If we choose to delve deeper into our understanding of humanity and our personal journeys, we can uncover a wealth of knowledge and truth about the energy we hold at each moment. This is an important truth that helps shape our journey, but we can also gain a deeper understanding by connecting to this energy and making the most of it, becoming better humans each day. Our outer world will always be a reflection of our inner work and the forces we work with, and that is where Adachi’s work comes in as a reminder of these aspects and how we can learn to honor them and work with them.


For more on Yuko Adachi’s artwork, please visit her website.


Today’s poems reflect a need to feel centered, which comes from what we see in Yuko’s work:

A Center

By Ha Jin

You must hold your quiet center,

where you do what only you can do.

If others call you a maniac or a fool,

just let them wag their tongues. 

If some praise your perseverance, 

don't feel too happy about it—

only solitude is a lasting friend.


You must hold your distant center.

Don't move even if earth and heaven quake. 

If others think you are insignificant,

that's because you haven't held on long enough.

As long as you stay put year after year,

eventually you will find a world

beginning to revolve around you.

How the Art Community Thrives

The role of an art museum is more than what meets the eye. When we talk about art, it can also expand to the performing art form and beyond. Yes, it is good to feel a limitless quality of what art can do and who it can reach. One of the art museums in the Washington D.C. area that has that expansive quality is The Kreeger Museum. Nestled in the northwest area of D.C., where the winding roads and carefully landscaped gardens meet, the Kreeger gravitates to locals and tourists who seek a serene space for various art forms within the city.

Photo by Frank Hallam Day.

While supporting the contemporary art scene through art shows, talks, and events constitute the norm of an art museum’s role, it is refreshing for the visitors to also experience a variety of programming that enhances its visual arts component. Helen Chason, the director of the Kreeger, graciously shared insights into the museum's profound engagement with the local community, highlighting how these endeavors contribute to the enrichment of visual and performing arts within the Washington D.C. region.


Creative Selectivity

Photo by Nicholas Moreland Photography.

The craft of selecting artists is a process that takes time and research. Art curation is a way of carefully presenting new and returning visitors with a vision of what the art museum represents and what it stands for. It's a process that goes beyond showcasing popular talent. Contemporary emerging talent is always present but it takes a keen eye to select it based on the season, your audience, your messaging/themes, and the other type of programming you may have going on. 

At the Kreeger, it is important to immerse the visitor in art but also through music and workshops. These creative endeavors stimulate the artistic senses of sound, movement, and visuals. 

Helen Chason touches on the importance of supporting local talent:

To shine a light on the amazing visual and performing artists practicing in our city and provide them with gallery space for showing their work, we developed The Collaborative in 2021. The Collaborative is an exhibition program that supports DC-based artists and strengthens our relationships with other non-profit arts organizations in DC. We are honored to champion the work of these artists and provide many of them the opportunity to present their work in a museum for the first time.

It’s important to highlight local talent within museums, especially since Washington D.C. can be considered such a transient city, where people come to work for a few years and then move on to other places. Nurturing the talent that is already working within the Metro Area can only foster more of an inclusive cultural experience and create room for more talent to emerge, flourish, and maintain itself in creative careers in this area within the visual and performing arts fields.

Chason states:

Jazz at The Kreeger, also developed in 2021, is a monthly concert series at the Museum that features DC-based performing artists. Working in collaboration with Elijah Jamal Balbed, we are honored to present this jazz series to support and spotlight the wealth of musical talent in our metropolitan area.

Aside from art, the jazz community has been an intrinsic part of the Kreeger’s programming. Jazz expands how people can enjoy the art experience through music by honoring diverse talent through another art form. This opportunity creates an atmosphere of cultural history and community as it all blends in together to honor the talent of this area. 

Community Goals

Photo by Anna Savino.

The Kreeger Museum uses the art space as a place the community can visit to enjoy and learn more about Washington D.C.’s overall cultural scene. It immerses the visitor in the art experience by asking them to be part of it and engage with local musicians, artists, and overall local talent.

It is commendable for an art space to know its audience and what they want to obtain from visiting a space. It could be to have a nice time, mingle, or learn more about local art and music. It is all valid, but it is also a matter of picking their brain based on how they respond to the activities you are presenting and what they might be interested in as a parallel activity in their daily lives. Say someone is interested in art, could they also be interested in learning to make art or listening to music while viewing it? This is a reflection of what we can see in the Kreeger’s programming. 

Chason expands on this thought:

We have a wonderful and simple mission – to share art, architecture, and music. Working with partners and artists across the city we strive to develop workshops, exhibitions, performances, and talks that appeal to all audiences. Our grounds provide a fabulous space for outdoor installations and performances. With new art spaces opening up across the city, there is more opportunity for all to experience work in new venues. The more we work together to promote our artists, the richer our community will be. We are headed in the right direction.

Presenting art as a lifestyle is an exciting pursuit, especially making art more approachable, where people feel there’s a space for them no matter their background. There is room for all to feel welcome, especially if they feel their other interests similar to art are welcomed too, like workshops, music, and even yoga.


Final Musings

Photo by Vivian Marie Doering.

The important part of maintaining a contemporary art space is to be open to multiple possibilities. We live in a world where art has become more accessible to people and it is a good feeling to feel included in this beautiful and in-depth world that is art.

Spaces like the Kreeger are taking this mission one step further by learning more about the people who visit and those who live nearby when offering programming that engages their interest and keeps them coming back to learn more about art history and local talent while immersing as part of a visual and performing art community.

The Art of Curation is Evolving

As the art world slowly opens up to hosting exhibits and devising innovative ways to make art accessible and safe amid a global pandemic, many art lovers are breathing a sigh of relief. The National Gallery of Art (NGA) in Washington D.C. is illustrating how art lovers may get their fix in the era of COVID-19. Earlier this year, they reopened the lower gallery area in the West Building to present Degas at the Opera, an exhibition that attracted all the eager art fans in the D.C. Metro area. 

Figure 1. Mollie Berger Salah, curatorial assistant at the National Gallery of Art in Washington D.C., working behind the scenes in the Division of Prints and Drawings.

Figure 1. Mollie Berger Salah, curatorial assistant at the National Gallery of Art in Washington D.C., working behind the scenes in the Division of Prints and Drawings.

Mollie Berger Salah, curatorial assistant at the NGA in the Division of Prints and Drawings, sheds light into how her work for the National Gallery has and continues to adapt to the new ways of planning exhibitions and exhibiting art. If you love art, then you’re like me and have likely wondered how exhibits are created and how they come to be so memorable, especially now, and this interview tackles that curiosity.

There is a level of mystery to the behind-the-scenes work at an art exhibit, especially one at one of the most prominent art institutions like NGA. It is Berger Salah’s devoted expertise that guides the artwork selection, space planning, ways of connectivity with the public, and the flow of its presentation that make your visit to the National Gallery beyond worthwhile. 

Figure 2. Gregorio De Ferrari Genoese, 1647 - 1726, Saint Michael and the Rebel Angels, c. 1682, pen and brown ink with brown wash, heightened with white gouache, over traces of black chalk on blue laid paper sheet, National Gallery of Art, Elizabet…

Figure 2. Gregorio De Ferrari Genoese, 1647 - 1726, Saint Michael and the Rebel Angels, c. 1682, pen and brown ink with brown wash, heightened with white gouache, over traces of black chalk on blue laid paper sheet, National Gallery of Art, Elizabeth White Fund 2018.165.4

1. How long have you been working at NGA?

I have worked at the National Gallery of Art in the Division of Prints and Drawings since July 2014, but I have been working in museums since I was 16. My first museum job was at the Farnsworth Art Museum gift shop in Rockland, Maine. I learned so much there, especially customer service, which comes in handy when I am answering a question from the public or directing a visitor in the museum.

2. Can you describe your role and how you work with current/upcoming exhibits at NGA?

As curatorial assistant for the Division of Prints and Drawings, I get to do a little bit of everything. From researching the collection, including new acquisitions, to tracking the progress of curatorial projects, my to-do list varies day by day. 

For the past couple years I’ve been assisting the Senior Curator of Prints and Drawings with his upcoming exhibition, A Superb Baroque: Art in Genoa 1600-1750, which opens next year. I tracked the checklist of artworks included in the exhibition, corresponded with our co-curators in Italy, and helped find images for the publication. We were two months away from the exhibition opening at the NGA, when we needed to close due to COVID-19. It was disappointing to postpone the exhibition our team worked so tirelessly to execute, but we are all relieved the show will be on view next September.

Of course, everything has changed for all of us since the pandemic began. I never thought I would be working from home, but teleworking allowed me to focus on other projects. Digital content, in particular, has been a new experience for me. I led visitors (virtually, of course) through our Mark Rothko galleries and wrote a post highlighting DC artists for the recently enacted DC Natives Day, which celebrates folks born and raised in DC. 

Figure 3. Berthe Morisot French, 1841 - 1895 The Artist's Sister, Edma, with Her Daughter, Jeanne, 1872 watercolor over graphite on laid paper overall, National Gallery or Art, Ailsa Mellon Bruce Collection 1970.17.160

Figure 3. Berthe Morisot French, 1841 - 1895 The Artist's Sister, Edma, with Her Daughter, Jeanne, 1872 watercolor over graphite on laid paper overall, National Gallery or Art, Ailsa Mellon Bruce Collection 1970.17.160

3. What are the most enjoyable parts of your job?

Definitely working on exhibitions. Since works on paper are light sensitive, we closely monitor how often they are exposed to light sources. We rely on special exhibitions, which are only open for a few months, to showcase our incredible collection of prints, drawings, and illustrated books. With a collection of over 110,000 works of art on paper, there is a lot to choose from.

4. What advice do you have for someone who wants to work at a museum or gallery as a curator?

My first piece of advice is a practical one: understand and be comfortable with technology. I guarantee you will need to use spreadsheets, project management tools, and databases in a curatorial position. Proficiency, or at least familiarity, with these systems could set you apart from other candidates. There are also loads of free online tutorials, so there are opportunities for you to learn these skills. I use all of these programs, practically daily, and I believe they will only become more common as arts institutions move away from paper files, and towards digital systems.

Secondly, I believe it is imperative that anyone working in a curatorial capacity be able to articulate why their project is important, why it matters. This can be challenging to articulate, but as museums grapple with their role in the broader cultural landscape, I believe museum leadership will ask this question and curators should be able to answer.