Exhibition
Continued from Page 5B
This group of work grabs the
audience because it’s not just pa
per under glass. In fact, there’s no
barrier between the art and the
viewer.
The textures and patterns of the
many colors, most of which have
become part of the paper itself in
the artistic process, practically
pop out at you. Wooden elements
and layering are also used to give
a three-dimensional aspect to an
otherwise two-dimensional
medium.
The exhibit that stands the far
thest out from the others, howev
er, appeals to more senses. Ying
Tan, in collaboration with School
of Music Professor Jeffrey Stolet,
shows abstract, moving anima
tions on video. The images are set
to Stolet’s original score based on
text by Spanish poet Gustava
Adolfo Becquer.
“Un Albor” (The Dawn) and
“Mi Vida” (My Life), are part of a
six-piece series, of which the last
four have yet to be completed.
“Elements in Transformation #1
and #2,” make up the rest of the
exhibit.
Both “Un Albor” and “Mi
Vida” are captivatingly beautiful
with a dynamic intensity. The im
ages evolve and grow in front of
the observer, yet they seem more
suited to be seen on a screen the
size of an IMAX Theater.
The union between sound and
text are so seamless, they seem to
be born of the same hand — mar
ried in time and space.
“Our biggest work had to do
with coordination and talking
about things conceptually,” Sto
let said. “Most of our work has
been concentrated on theme,
broad context, and timing.”
Broad context is also explored
in the work of Craig Hickman. His
exhibit shows individual pages of
an artist’s book titled “Mars Ob
servations,” which is a collection
of photos. One is an image of a
large rock alone in a grassy field;
others capture the blank backs of
road signs.
Because of our cultural knowl
edge, we know these signs have a .
purpose, yet by not revealing that
purpose, Hickman has given the
observer complete control of his
v or her own interpretations.
Accompanying^each image is
, text. The text, however, is made
_ of symbols and computer-gener
ated dots, as well as English
words. The symbols chosen to
represent text also influence the
viewer’s impression of the exhibit
and seem to somehow have more
meaning than the words because
the meaning is our own.
Another intriguing exhibit is
Sana Krusoe’s “Small Birds/Si
lence,” which is made out of clay,
human hair, dirt, sand, porcelain,
piano wire, salt cedar and salt.
The artwork consists of many
small birds made of clay and hu
man hair stuck to two facing
walls. In between, and to the far
end of these walls, Krusoe has
hung bigger, white, containers.
The accompanying text, which
explains her mother’s struggle
with deafness and a stroke that
left her paralyzed, enriches the
viewing experience by poetically
fitting like a puzzle piece. “Small
Birds/Silence” has such an organ
ic, holistic sense of touch that the
tender process of Krusoe’s cre
ation clearly shines through.
“18 Points of View” runs
through Jan. 2. The University of
Oregon Museum of Art is open
from noon to 8 p.m. Wednesdays
and from noon to 5 p.m. Thurs
days through Sundays. Suggested
admission is $3. Museum mem
bers, students, University em
ployees and children are admit
ted free.
wuui kbajf
The Department of Ait History—faculty, staff and graduate students—show
their wori( at the Laverne Krause Gallery in Lawrence Hall. The opening reception
is Oct. 25 from 7 p.m. to 9 p.m. and the exhibit runs until Oct. 29.
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