Wug Laku's Studio & Garage; through Oct. 26.
You can't accuse Tim Hildebrandt of seeing the world through rose-colored glasses. In both palette and subject matter, his apocalyptic landscape paintings are -- unsurprisingly -- dark. He's certainly not the only painter in the Greater-Indy area with such forebodings. What distinguishes Hildebrandt are the sculpture and collage elements he incorporates into his oil paintings.
In "Range of Emotion," you see a crucifix shape cut into the surface of a landscape depicting a sort of curtain, hanging like a flag of surrender, against an empty skyline. At the head of the crucifix you see a bird's beak. At best, this landscape seems indifferent to the balm of Christianity. Elsewhere you see another kind of indifference.
In "Actual Eye," you see a plaster sculpture of an eye -- from a life cast of Michelangelo's David -- peeking out from below the surface of a painting portraying multiple flat surfaces, like so many discarded artists' drawings on paper. A disturbing possibility for any artist is that the world's great art will be treated like so much trash in an apocalyptic future. It's a prospect from which even Michelangelo's work isn't immune.