What does the word “green” signify to you? This is the question that was posed to the artists of Touchstone Gallery, an artist-owned gallery which maintains a membership of about 35 active artists at a time. The member artists worked together to throw around ideas on the theme of this rotation’s Member’s Gallery exhibit, hoping for inspiration. Some approached the theme literally, while some addressed it more conceptually. The resulting paintings depict green as a color, a movement, a state of being and a symbol.

Some of the artwork leaves little question as to why it is featured in the exhibit. Shades of green are obviously the predominant hues in the gallery, but the works each express the interpretation or message in a particular way. Cynthia Young’s “Seabird Threatened by Offshore Drilling” is made up exclusively of green oil paints blended closely together, only vaguely picturing the silhouette of a bird — the political significance of the painting comes through only with the title, but it is nonetheless a topic of “green” importance.

Similarly, Rosemary Luckett’s “Fake Forest (Waste)” features an image of a road cutting through a forest of white evergreen-shaped air fresheners. In this case, the strong political implications are evident in the work itself. Perhaps one of the most evocative of the politically critical paintings is “Holding On” by Michele Cormier, a thin and long canvas with an unadorned yet realistic portrayal of a hand grasping the corner of a leaf green-colored sheet. The image and the title are simple and to the point, which may be why it is among the most effective of the paintings in the gallery.

One of the more prominent paintings, at least in terms of size, is the triptych “Freedom of Choice” by Mary Trent-Scott. The work is made up of three oil paintings depicting a scene reminiscent of the creation story of Adam and Eve. The phrase “freedom of choice,” however, has taken on a specific meaning in the context of personal liberties, making the usage of a biblical allusion particularly compelling.

In another category of the exhibit was Marcia Coppel’s more literal interpretation of the idea of “green.” Her “Meeting in the Green Cafè” is slightly reminiscent of Picasso in its colorful abstract style, but surprisingly, the predominant color on the canvas is purple rather than green, with the theme color only moderately used in the background of the scene. Her work contrasts to many of the work on display that have political themes, either blatant or faint.

Still more abstract is “Celtic Air 200” by Teresa Roberts Logan, the depiction of a female face made up of natural textures and images. Roberts Logan uses female faces as a motif in her work; each piece is a collage of different textures that reflects a particular take on the role and significance of women. The medium of her work featured in this exhibit is a variety of recycled materials, which is in itself a matter of expressing what it is to be “green.”

The variety of the artwork in the gallery speaks volumes about the diverse perspectives of the artists that make up the membership of the gallery. Their different backgrounds both in life and in their artistic careers provide the context against which their work can be interpreted. While to some, the idea of “green” is a new and controversial point referring to either environmental or economic issues, to others, it is a color with a long history of varied symbolism in art. Interpreting this today for a gallery in D.C. artists must draw on both of these ends of the spectrum as well as insert their own personal associations with “green.” The result is a highly unique gallery, exhibiting not one artist’s vision, but rather providing a microcosm of how society thinks of green — the idea, not just the color.

“Green” will run through Oct. 4. The Touchstone Gallery is located on the second floor of 406 7th St., NW. The gallery is open from 11 a.m. to 5 p.m. Wednesday though Friday and from 12 to 5 p.m. on weekends. For more information, call 202-347-2787 or visit www.touchstonegallery.com.