There is both an expanded range of ethnographic reference, and signs of human reaching out to a elemental cycle. But still growing roots encroach even faster over all. But among the human tokens attesting to humanity's self-preoccupations and beliefs, a spirit mask stares out at the viewer. It is an image inspired by indigenous art from British Columbia, and is displayed as split halves, revealing a new spirit visage emerging from within. It is only a frail, material mask, fashioned by human hands, but it attests to a naturalistic intuition that pasts are shed like old skins in the due course of renewal.
Cyclic nature does insinuate itself into human awareness and is so noted.
In this work it is still only human semblances that stare out at the viewer in the midst of a silent and disinterested natural setting. It focuses on a deer kill rite, but the bright palette and frenzied stance of the hunters speak more about the human creature than any ethnographic minutiae . Although our century wears other skins, the beast beneath has changed little. One feels that perhaps the artist found fascination in the rite, but did not invest must empathy in the enactors. I noted that the show 's curation is well worked out.