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the coloration and finish of each particu- lar piece that impressed me the most. ·Each creation glows, shimmers, vi- brates, and sparkles. Jurs' combines matt glazes, and bare areas of exposed ceramic pottery with amazing high gloss glazes. The latter she uses in a most careful fash - ion-sometimes making us strain to exa- mine the curves of one of her "Treasure Boxes" to find the mirror-finish bit of iri- descent colored glaze. On occasion, she coats the whole surface of the object with this tinted pearly finish; the reflection ability of this glaze is so extraordinary that I watched myself walk towards a large, curvilinear red-orange vase from fourteen feet away. My image was readily visible in the finish from that far. Castle exhibits both sculpture and fur- niture in this show. I was at first disap- pointed to learn that this show was en- tirely composed of his work in fiber- glass-it seemed as though it was a sterile choice of media for an artist whose repu- tation was established by his amazing work in wood. His furniture in that media is fantasy stuff-the legs and arms of the pieces look like twisted cypress roots cun- ningly incorporated into functional, out- standingly crafted tables, chairs, and chests of drawers. The work is pain- staking to an extreme degree, and most of his designs in wood take six months and a year to execute. I found that I still got the feeling of richness and choice from these new fiberglass pieces however, and for some very simple reasons. He has re- tained the same sort of amorphous forms in these constructions as he uses in the wood pieces and, in some cases, has re- duced the scale of his work in order to attain the same intimacy as before. The fiberglass introduces some very positive aspects of exploration into his set of prob- lems-color, previously an innate quality of the wood embellished by t.he artist through stains and glazes, has now be- come a matter of necessary choice. And Wendell has done an amazing job.He chose a glossy steel grey for one sculpture (an arch of sorts that might be best des- cribed as having the shape of two seals kissing through a tube). At the high point of the arch is a clear incandescent bulb that causes the grey to modulate from reflected white to shimmery silver - ah, so many words for a construction that is re- latively simple. It's value doesn't lie in its condusiveness to stimulation of semantic activity, but in the pure joy of the visual experience. The woman at the gallery was very happy to explain why Castle has chosen this new medium. The feasibility of spending one's entire life producing one or two pieces a year, and having his work available only to those who could make such an expenditure of time and patience worth his while (i.e. $$$$) did not appeal to Castle. These new pieces are surprising- ly inexpensive. When I can reasonably 23

consider investing in a chair, and I'm standing in the middle of Gallery West rather than in Goodwill-the prices are reasonable. The exhibit as a whole is one of the few I've seen this year where the layout and design of the presentation do not interfere with the viewer's enjoyment. The effect of the thin neon tubing that outlines Castle's sculptures is tricky stuff -he uses it beautifully to integrate with the fiberglass' gloss to radiate flabber- gasting reflections. But it is exactly this sort of work which can be ruined by careless placement and disregard for jux- taposition of surrounding fields. One might logically glean from this show that the discussion here can be carried on to form, function and decorating one's living space- hopefull, being able to actually succeed in existing there. Although both Jurs and Castle produce dynamic, pre- cious pieces, one can easily see that a major concern here is subtlety. If I place Castle's yellow (and it is very yellow) table in my living room, I don't want the after image of it to haunt me all the way upstairs. And it wouldn't. Each piece is as exciting as possible, never overpowering. Jurs' pots and boxes could very reason- ably exist anywhere, and be USED. How nice. (Castle and Jurs are, incidentally, married. Somewhere on the outskirts of Rochester - in Scottsville, to be precise - there exists one hell of a house.) At any rate, the training I gave myself in color appreciation when but a young pissant was not for naught. There are at least two artists working in Western New York who've combined those beautifu' gasoline-rainbows with unique form anu testable functionality. Living out your fantasies is a great way to breath. Poetry • CHRISTOPHER SAJECKI Poor Archibald Macleish. Had he been born with the gift of prophecy as well as poetic insight, he may have thought twice before bestowing upon future generations of literary community that s.lippery, troublesome maxim which goes some- thing like, .... a poem must not mean; a poem must be. When taken to the ex- treme, this rule has rather awesome impli- cations, the effect of which has been the creation of new contexts within the liter- ary community; contexts within which a poet may feel secure in his role by simply submitting the letter M on paper to his local poetry magazine. This is an extreme example, but it does illustrate an impor- tant point. The phrase, a poem must be can be interpreted in such a way as to provide an all too easy justification of au- tonomy for its own sake. Knowing of this

(cont'd from page 21) means which makes each song successful • nd effective. Side two of the album will illustrate my point. The side starts out with a fast- moving pleasant song called Tuesday 's Dead. This is a louder type of sound than the next song, Morning Has Broken, which is a soft, accoustic ballad concerning itself with the beauty of na- ture in a spiritual sense. Then a faster song, Bitterblue, a heavy sound which employs no over amplification but simply exuberant, ecstatic playing. Moonshadow, the next song is another slower accoustic track, reflecting Cat's philosophy of life which points to- wards a kind of fatalistic outlook but also a desire to contend with what is to come and to press on regardless of the circum- stance. The album finishes with Peace Train, a kind of bandwagon approach to a question which has existed in the minds of many a troubled head today. Cat Stevens is a budding young super- star, for the second time, the first time being in England a few years back when he recorded such greats as I Love My Dog. Success will not spoil Cat Stevens however, as he sings "I let my music take me where my heart wants to go... I will never make the same mistake, no never." A Cat Stevens will be appearing at ~einhans on October 30. Art • WENDY HUGHES When I was about nine years old, my best friend and I devised a marvelous way to occupy ourselves on Sunday after- noons when our mothers went bowling. We'd wash down a section of her black- top driveway with water. Then we'd coat it with gasoline from the container re - served for lawn motor fuel. The gasoline would float on the surface of the water, and the colors would swirl as the breeze stirred the two fluids together. Rainbows of fantastic shimmering mother-of-pearl 1 The game would climax when we stood up on the back porch steps and threw a lighted match at the gasoline and watched it explode. But the colors were the best part of the game, and I quite expected never to see them again. _ However, happily last Wednesday, I wandered on down to Gallery West, on the corner of Bryant and Ashland. They've begun their fourth season with a an exhibit of. the works of two members ·• of the School for American Craftsmen at Rochester Institute of Technology- Wen- dell Castle: Explorations in Fiberglass and Neon, and Nancy Jurs : Personification in ·Raku. Each has chosen to create organic shapes in their particular media, but it is

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