For the first time, both rooms of the space will be used for exhibition. But they are transmuted by his personal imagination, earnestness, fantasy. This visionary quality is most clear in his porcelain dragons. Hardly a form one expects to find made by a serious artist, or to have any sort of originality or intensity of expression, even in those countries where the dragon is part of active folklore, they are based on the sort of ceramic figures sold in Chinatown. The largest dragon in the show is solid hunk of porcelain weighing perhaps forty pounds.
Porcelain is difficult to create except in thinnish walls.
The exhibit includes a dozen or so paintings, some up to eight feet high, and two series of three are among them. They are painted in thinned acrylic by glazing, a term and technique not elsewhere used with acrylic to my knowledge. The most arresting are four paintings which use his wife as model, a strikingly beautiful woman with reddish hair, a sweet smile and a look of cool sensuality. She is dropping a rose form her hand. Some large plants are revealed with schematic roots systems in the underground emphatic.