T he three artists and their works chosen for the show entitled “Parallel Visions” at the Visceral Gallery in Centerville all share a sense of purity and balance in their creations. There are clean lines and surfaces not to mention a constructivist aesthetic that seems to permeate the engaging yet meditative exhibition that runs through Wednes-
day, August 18.
Painter Susan Scherette King uses acrylics in a manner in which subtly stained surfaces are imbued with textures and suggested structural planes that can be accented by colored streaks, such as the red slash in “I can’t believe I hadn’t thought of this before.” Her titles all have this expository semi-narrative tone, some with a questioning sense of revelation as in “So, what do we hear when we listen?” with its mottled white overpainting revealing patches of brown and blue as well as mysterious paintings of greens and dark stripes beneath.
Dark blue/black streaks penetrate upward into descending white plumes streaked with gray and black linear scratchings in “One must always allow for alternate speculations,” and vibrant patches of muted green, blue, and pink unsettle the surface of “It makes me kinda nervous.” A green landscape plane gains perspective with a little green angle that exits into a white door, creating an interior analogy in “Off the Grid and into the future.”
A sandy yellow promontory imparts a landscape sense under a sky halved by pale purple and deep blue-purple in “The continual journey from point A to B,” and the rough textures streaked by green and blue with a touch of pink bespeaks the title “And I just woke up.” Two areas of streaked white with blue edges surround a central spread of interpenetrated pink and gray in “At a certain point, we all stop agonizing,” and the vertical construction of staggered blue above green blocks triggers King’s inevitable question “How was she drawn into this construction?”
Don Williams is a retired architect whose sensibilities have been routed into clay while architectural analogies constantly recur. “Although organic forms often appear in my work,” he says, “hard-edged geometric shapes tend to predominate…and the work of 20th-century artists is a major influence on my work.” Often working in series with acute observation of his variations, he is “concerned with proportion, intersection of planes, the interpenetrations of volumes, and the effect of light and shadow
on the form.”
Williams has a series of tall columnar ceramic structures mounted in proximity in the Visceral Gallery. With features situated between rectangular framing elements, there is a roughly framed rock-like surface in “Rock Face Column,” a structurally patterned disc above a meandering blue glazed stream in “Moon River Column,” a series of excavated grooves in “Quarry Column,” white glazed faceted elements in “Geometric Column,” and the blue-streaked radiations around a sloped edge in “Am I
Another series, profoundly architecturally inspired, are Williams’ towers with their angular structures, rectangular or triangular. A pair of such pieces forms the “Tower Five” with their brick red and brown tones accented by blue and red areas with windows and doors. The tall “Tower Eleven” is streaked by diagonal bands of tan and opposing red radiating from windows, and “Tower Six” features several
levels with ascending stairs.
Williams’ analogies with contemporary architecture are expressed in the eccentric “Gehryosity (from the City of Seven),” the endless white glazed stairways of the “Escheric Cube,” and the cubistic tribute to Le Corbusier of “Corbu and I,” capped by the whimsical robotic visage with window arch brows and staircase nose of “Architectural Self-Portrait.”
Matthew Burgy has become well known locally for his stabile-like constructions with moving, hanging elements, and his other ventures into abstract sculpture. For “Parallel Visions,” he has two main sculptural pieces, one very large of steel and enamel with a long levered arm suspending cascading angular pieces called “Lifted Up,” and a small construction of angle irons, steel, charcoal and enamel called “Urban Form.’
For the bulk of his remaining pieces, Burgy is exploring compositions in a more purely constructivist manner, with prints, photographs and enamel on canvas. A series of square enamel panels with textural dark or swirling patterns have titles like “Moonscape,” “Dragon Swirl,” “Untitled (from Nebula Series)” and “Enchanted Fire.”
Another theme is exemplified by “Doorway,” an intensely outlined intaglio on paper, and the receding textural planes of the silkscreen “Doorway to the Cosmos.”
Burgy explores another theme with his “(In)Complete Form” series executed in various media, from the open-slotted top of the thin square ring of “#2 Eternal Keys” rendered in stone lithograph on paper, to the half open-ended black form penetrated by white in enamel on canvas “(In)Complete Vessel.” His four panel oil and enamel on canvas square panels are displayed in a row of black, blue-gray, red and white, another four panel enamel on canvas posing black and white variations in a row under the gallery’s counter, and two parallel vertical black bands are surrounded by atmospheric blue striations breaking into the white ground from the edges in “Exodus.”
Visceral Gallery is located at 65 West Franklin St., Centerville. Gallery hours are
10 a.m. to 6 p.m. Tuesday-Saturday.
For more information, call
(937) 409-0069 or visit online at
Reach DCP visual arts
critic Jud Yalkut at contactus@