Beginning in a room at the front entrance, the art flows through a wide hallway and spills onto the walls edging a large workspace and storage area. A series of slick-surfaced diptychs by Carol Peligian in the first gallery space studies landscape and abstraction. The compositions introduce the nonobjective by presenting its relationship to the figurative. A smaller vignette or detail on the left references a large-scale painting on the right. The connected painting transforms that small environment into a green expanse bruised with murky brown, dark blue and purple.
Imagery slides from solid to patterned, textured to smooth, photographic to painterly.
Down the hall, Lisa Ingram applies oil to paper and canvas in a sequence of abstractions. Her best achievement on paper recalls the gorgeous sculptural wax works of Petah Coyne that cascaded from the ceiling of the High Museum a few years back. When Ingram works in oil on canvas, her idea of color becomes vibrant, her images more atmospheric. Unfortunately, the life in those imaginary worlds is choked by the frameshop reality that surrounds them. This expressive art has no room to breathe.