Along for the Ride, an exhibit at the Fava Gallery by Claudio Orso Giacone and Donna Coleman, features the clean lines of Orso’s linocuts and stoneware juxtaposed with the softer shapes of Coleman’s oil paintings. The Ride appears to be the ride of their lives, both meditations on their own existance as well as on world events that are interwoven with their reality. Giacone remarks in his statement that he “feel[s] the unextinguishable calling to…pinpoint further and unnoticed constellations on the necessary infinite map of life.” His endeavor has been quite successful. The ultimate triumph of the exhibit is its ability to urge the viewer to come “along for the ride” while Giacone reflects on the events and emotions that have marked his own life.

The exhibit opens with two dramatically different works of art: Giacone’s “King of Trouble” and Coleman’s “A Tea Party.” “King of Trouble” is a linocut printed only in black ink and depicts the rather jolting image of an oncoming apocalypse. The viewer can actually view the entire assembly line of destruction, beginning with “The King of Trouble” — a man in the foreground with his arms raised and ready and his mouth calling for action. Behind him follow four dark horsemen and various military images.

The scene culminates with one enormous tank on the horizon. “[The man is] whatever man in power that uses the power in a selfish and unclever way,” Giacone said. “This basically is the theme of the four horsemen of the apocalypse, and the apocalypse is coming.”

The painting placed next to “The King of Trouble,” “A Tea Party,” is as harmonious and peaceful as the former is chaotic and destructive. This painting features varied and intriguing personalities, all regally seated for a tea party: a cool smoking James Baldwin, a naked Lady Godiva, Andy Warhol and Tasha Tudor (who appear to be shamelessly flirting with each other) as well as one of Coleman’s personal heroes, Ernest White. White, a former WDCU radio commentator in D.C., fell into drug addiction and homelessness after the station was sold. “[White] was such a peacemaker, with such a probing, sensitive intelligence, and he is right now a homeless man… I wanted him to come to the party so he could at least get a good meal,” Coleman said.

Most of Coleman’s other paintings are semi-autobiographical, with some being lifted directly from life experience. For “Blythe’s Birth Announcement,” Coleman predicted the appearance of her then-unborn daughter; the painting was later used for the actual birth announcement. Coleman said “though not entirely truthful,” the painting “A is for Attraction, N is for Night” “was great revenge on a particular boyfriend.”

While her paintings can be quite personal, Coleman’s portrayal of subtle women’s issues are humorous and accessible. Her painting “The Spring Line” is divided into top and bottom frames, with the top featuring colorful models showing off the new Spring line. The bottom images are of everyday women struggling to wear the pieces from the new line. Some get caught in the clothes, some are too heavy to really fit into them, and some are pleased with their new look though the outfit does not really fit correctly. “The Bathers” and “Women Dancing” also feature women experiencing the pleasures and pitfalls of their particular bodies; the energy and honesty within these paintings is welcoming and fun.

Compared with the smooth lines and peaceful images inherent in Coleman’s works, Giacone’s appear much more mobile, sometimes containing an almost frenetic energy. This may be due to the more structured mediums that Giacone chooses — the tight frames inherent in linocuts and stoneware emphasize the fervent etchings within.

If life is a journey, then Giacone’s has been a pretty wild one, as he has hit such hotspots as Brazil, Mexico and “Where the Mountains Meet the Ocean.” His representations of South America revel in images of partying and noise. “My Vida Loca,” features a saxophonist performing on top of a bus, accompanied by his drinking partner and framed by a huge sign for tacos. “Meninas de Recife” (“Little Girls of Recife”) portrays prostitutes in Brazil full of big hips and sass. There are also more grounded pieces, such as “On the forces of Yoga,” “Meditations,” and the beautiful “Mama Pasta.”

Along for the Ride allows the viewer to get a glimpse of the lifelong journeys of two very talented artists. The Ride will at times surprise and delight, but more importantly, it will enable you to reflect upon similar experiences and emotions from your own life.

Along for the Ride will be at FAVA until Oct. 27.