The good, the bad, and the what-the-heck
by Alec Clayton
|"Reverie," painting by Alain Clerc, courtesy Tacoma Community College|
I’ve said this before, and I’ll say it again: juried exhibitions are always a mixed bag of the good, the bad, and the what-the-heck. Given that, the annual juried exhibition at the gallery at Tacoma Community College weighs much more heavily toward the good, with a few pieces that could even be called great.
Among the more outstanding pieces is Irene Osborn’s ceramic sculpture “Refugee.” It is a small bust of a mother holding her child to her breast. The feelings it conveys are sadness and sweetness. It could almost be said to be maudlin, but it rises above that. And then, if you look at it from the back, there is a huge surprise. The figure is hollowed out and lumps of clay inside the scooped-out figure look like a cascading waterfall of boulders. It is startling, thought provoking and attention-grabbing.
|“Refugee” ceramic sculpture by Irene Osborn, courtesy Tacoma Community College|
Another piece that is attention-grabbing is Lois Beck’s monoprint “Intersection.” There are four small prints mounted within a horizontal frame. Each print is an almost solid dark brown with two jagged white lines like lightning strikes that run from edge to edge, intersecting at one point. It is a small but bold and simple print that is electric in its impact.
And yet another startling image is Mary Beth Haynes’s sculpture in painted waxed clay, “Manifesto.” It is a bust of a woman with arms lifted as if in celebration and mouth open in what looks like a defiant shout. Even though the sculpture is small, the figure appears monumental. She is a large, muscular woman. Her hands and the top of her head are left unfinished in jagged shards like a figure in the process of being chiseled out of a mountain. This is a powerful image that reminds me of the female figures seen in Michelangelo’s Sistine Chapel frescoes now on display at the Tacoma Armory.
Barbara Patterson has two paintings in the show that amazingly look much alike even though one of them is completely abstract and the other is clearly figurative. “The Dance of the Monks” depicts three dancing monks painted mostly in flat areas of blue with some orange, and the untitled abstract painting next to it is a grouping of squarish shapes in the same range of blues and oranges.
“Nude Window” by Paul Steucke is a large nude that reminds me very much of paintings by Robert Henri of the Ashcan School in its moody simplicity, but it is more contemporary in appearance because it is flatter.
There are two paintings by Alain Clerc that create large overall patterns with peek-a-boo figures that are mostly hidden within patterns of organic shapes. His “Reverie” is a landscape with two female nudes sprawled across hills. At first glance the figures are not noticeable but are just part of the landscape. And at the bottom there is a large running rabbit that’s remindful of the hare in Alice in Wonderland. His paintings are clever in concept and eye-catching due to the ways in which a variety of colors and shapes are unified into a single pattern.
Glen LaMar is represented with three abstract sculptures, two with soaring shapes and one like a heraldic shield, and all with rich, opalescent colors. His “Inner Beauty” was chosen for a juror’s choice award. Also chosen for a juror’s choice award was one of two paintings by Lynette Charters from her celebrated Missing Woman series, either of which could easily deserve the award.
Annual Juried Local Art Exhibition, noon to 5 p.m. Monday-Thursday, through Oct. 20, Tacoma Community College, Building 5A, entrance off South 12th Street between Pearl and Mildred, Tacoma, visitor parking in Lot G.
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