Dean Gallery, Randolph H. Deer Fine Arts Wing, Wabash College, 410 Wabash Ave.,
Crawfordsville; through April 8.
aura of lightness envelopes Nhat Tran's new work created during and following her
recent study of Japanese urushi at Tokyo University of Arts. Five sculptures of
layered lacquer upon molded cloth represent Tran's re-interpretation of Urashi
Kanshitsu. "Experiment in Verification/Experiment in Falsification," (2011) a
dual wall hanging of floating blues on copper/copper with blue, takes her work
into an even freer dimension from her installation at the Indianapolis Airport
and her signature "Carpe Momentum" (2002).
Existence" and "Primitive Invitation," small sculpted layers of lacquer on
fabric mounted on pedestals, also emulate weightlessness.
(2011) with golds on fabric conjures hopping in contrast with her "Inclination
to Believe" (2004) urushi on extruded polystyrene work with its feel of drawing
into itself a rainbow spectrum.
2010 series of urushi lacquer on wooden board placed free floating within
frames equally allows imagery of movement. "Evolution of Unconsciousness" at
first glance seems dark and forbidding, but a second look draws you into its
smooth surface like looking into a deep pool with faces emerging and bodies
floating. "A Nonsensical Affection" equally requires careful inspection.
Following along its copper layerings from left to right, there is a conjuring
of action — perhaps a leopard leaping toward a sunlit pool? "Secretly" is
a bright enigmatic rainbow splash.
newest pieces are surrounded by a retrospective of Tran's work since 2002,
offering an evolution of her constant search for new expressions within an
Hours: Monday–Friday 9 a.m.–5 p.m., Saturday 10 a.m.–2
on exhibit at Wabash's Eric Dean Gallery
Shafer's colorful, energy-filled hybrid paintings combine digital technology
with the materials and methodology of traditional art. Shafer's abstract work
has a sense of landscape. His initial complex images originate as small
glimpses from digital macro photographs, which provide the matrix for freehand
application of oils, colored pencils and oil pastels. These small hybrid
paintings are then redigitized for enlargement and overpainting again and again
to produce large scale canvases.