Intersections artist John F. Simon Jr. discusses his installation at the Phillips, Points, Lines, and Colors in Succession, on view October 17, 2013 through February 9, 2014.

Inspired by the progression of movement in the natural world, Simon's four-part installation in the Phillips house stairwell incorporates drawing, software, and computer-generated fabrication. The works, evoking meandering lines, steep curves, and improvisation, engage with Wassily Kandinsky's Succession (1935) in the Phillips's permanent collection.

Using images of El Greco’s The Repentant St. Peter(c. 1600–1605 or later) from the collection, Baltimore-based artist Hildebrandt explores baroque themes of high drama, spectacle, and spatial movement. By converting a series of images into a video sequence, the artist connects painting, photography, and film.

Silverthorne uses rubber to create floral reliefs and objects typically found in an artist’s studio. Her sculptures, along with the modernist still lifes from the collection with which they are interspersed, are vanitas—meditations on the brevity of life.

Intersections artist Xavier Veilhan discusses his exhibition (IN)balance, on view at the Phillips November 3, 2012 through February 10, 2013.

The first major museum presentation of Veilhan's work in the U.S. and the most extensive Intersections project to date features 18 recent pieces in several media that reflect a balance between natural and social forces, new technologies and historical styles. Veilhan's large resin sculpture, The Bear (2010), greets visitors on the corner of 21st and Q Streets.

The exhibition is supported in part by the Institut Français—Ministry of Foreign Affairs.

Composed of intricate ink and acrylic drawings on canvas that cover the café walls, One Day, After the Rain follows the movement of sunrise to nightfall, paying homage to Arthur Dove’s landscapes in The Phillips Collection.

Sandra Cinto creates dreamlike environments with her art. “I am interested in passages of time marked by sun and moon, day and night, and the movement of water,” she says. “I chose the language of drawing because of its immediacy and direct character. My intention is to propose an immersive experience through color and form.”

Ecliptic—three interrelated large-scale drawings made of yarn looped over thousands of nails—investigates spatial perception and engages the architecture of the gallery. The installation, like much of Shotz’s work, is inspired by science, referencing the solar system and the perpetual rotation of planets. At once monumental and delicate, flat and three-dimensional, Ecliptic transforms the room into a weightless environment.

Sk(in) is a two-part sculptural installation—the first, massive yet delicate, suggests tree branches and occupies the courtyard; the second extends indoors, to rupture the "skin" of the gallery walls.

In The World Series, deSouza responds to Jacob Lawrence's The Migration Series (1940−41) with 30 photographs taken on his travels and audio recordings of his experiences and memories.

In Lunar Bower, panels of fabric are sewn together and stretched across the café, suggesting the ethereal night skies in Albert Pinkham Ryder's paintings. Light is given a corporeal presence as it filters through the hanging sculpture.

Sk(in) is a two-part sculptural installation—the first, massive yet delicate, suggests tree branches and occupies the courtyard; the second extends indoors, to rupture the "skin" of the gallery walls.