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thematically arresting. One. called "Pedestal", consists of a four and a half foot tall wooden cone of pieces of thirteen different kinds of wood fitted together and carved into irregular circles of diminishing size. At the apex of this somew hat wobbly structure, a four inch tall, nude woman stand with an androgynous head, almost heroic in mien
As enigmatic as "Pedestal", though altogether different, m Colson's "Untitled Voice", an angu lar soap stone, stained Malachite green, base and head. F;or some reason, the head suggests a Biblical or other ancient,, middle-eastern prophet or god.
A first prize with dolMiouse like charm is Rex Slack’s "XMas Trailer", a fifties-sty led. silver painted trailer home, festively decorated. An angel is mounted above the door, while a holy family creche decorates the lawn, now covered with snow. A picture of Santa Claus is pasted on the door and many similar Christmas details as well as aspects yf home life for those who live, or lived, in trailers are also there. Nothing in the exhibition is more delightful than his assemblage.
Marni Rothchild submitted three stark photographs of deserted buildings, one of which. "Abandoned House", received a third prize. These photographs are almost studies in abstract spaces and shout "soullessness" from wretched, never attractive, abandoned living and working places. There are no natural shapes, not even evidence of nature creeping in to clothe the ugly nakedness of what no one wants any more.
One of the most striking placetakers, a third prize, was awarded to Noriko Hoge's "Human Bird Teapot". This thoroughly utilitarian object reveals a face on each side of the pot, half of each consisting of a bird image whose eye become the eye of a full human face. The expressions of the asymmetrical
masks by Hoge arc weird, sorrowful, beautiful and skeptical.
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