Albuquerque Journal
The Sunday Journal

Sunday, September 2, 2007

Artists Combine Works for Group Show at New Coleman Gallery

By Wesley Pulkka
For The Journal

Though this review is about the four artist “Relatives” art show at Coleman Gallery Contemporary Art, it’s also about Page Coleman’s beautiful new gallery space in Nob Hill.

This is the fourth and best venue for the Coleman Gallery since its founding, and the third commercial building owned and developed by Coleman.

The building on a barrier-protected section of Silver Avenue may only be accessed from Central by going south one block on Sierra than west on Silver.

Once inside the exposed roof structure and refinished interior and great light exude professionalism.

“Relatives” is a theme show of like-minded artists including abstract reverse paintings on glass by Elvis Greenlee, acrylic paintings by Christina Hall-Strauss, blown-glass vases by Richard Mole and ink drawings by Alan Paine Radebaugh.

Greenlee’s paintings are interesting fluid compositions painted on one side of a sheet of glass. When framed they are viewed from the reverse side of the pane. They have the feeling of monotypes.

Hall-Strauss is a talented abstract expressionist who paints over layers of color and form to create a kind of visual short hand that relates strongly to landscape elements. In her “Lift” series she creates the sense of a creamy seabed or streambed accented with plant forms and rocks.

Her strong sense of appropriate color makes these works quietly powerful and visually appealing.

Mole is an artist who loves to explore new media. His blown-glass vases are vibrantly hued and classically designed. He also builds fountains, free standing sculpture, paints, draws and throws pottery. I doubt if he gets very much sleep.

Radebaugh investigates the details of natural forms looking for patterns. His new “Spatium” ink-on-paper renderings offer another view of figure/ground relationships.

The above covers the front gallery. The long march north in the new space offers viewers six highly detailed graphite drawings by Julie Catron, new sculpture by Michael Orgel and selections from the estate of Robert Hooton among a lot of other works.

A peek out the rear door reveals a very nice outdoor sculpture garden.

Catron is serious about drawing and creates organic realistic looking albeit abstract compositions. Her delicate touch and careful shading make her renderings worth a long look.

Orgel has roots in early modernism and has been inspired by Henry Moore, Hans Arp and Constantin Brancusi.

His latest organically inspired work reminded me of American sculptors like Robert Laurent and Bruce Moore.

Orgel’s “Vessel” is reminiscent of “Death Ship on the Equator, 1972” by H.C. Westermann.

Orgel is a stylist who carves or casts with equal aplomb.

Overall this new gallery space is a zinger.