The spirit of place, and how two artists of very different sensibilities connect with it, is at the heart of Locus , a dual exhibit at the Harwood Art Center. The operative elements are earth and water. Every piece of Bojes refers to every other. The narrow range of Holman's material vocabulary is deliberate, employing grain sacks, cart wheels, sawdust and rubber gloves in surprising variations.
Gloves appear in repetition after repetition.
But whether strung like animal parts in a butcher shop or lined up like teeth on a plow, they are as much the artist's hands as the farmer's. Indeed, for all its earthy rhetoric, Bojes is almost more of a self-portrait than a portrait of a place or culture. By contrast, Ann Lacy seems to lose herself entirely, as if in a mediation, in the river imagery of her Arroyo Chamisa . Her highly inventive media are perfectly chosen to suit the subject. Lacy's large drawings in pencil and acrylic, busily worked out in muddy browns and beiges, seem to churn up like an agitated riverbed.