Colorful Abstract Painting Trees Silhouette

Gindlesberger organizes his black and gray composition in quadrants over a large white expanse. We seem to float over a tranquil old-time cityscape, neat and charming, while in the far corner a lone silhouette stands within the space of an incomplete fence. The fence is not closed, but it is enough to imply a boundary. Another defining line to be crossed is the dark river-like form that separates the fenced figure like a lost sheep in the wild. Is it safety, or seclusion?

Salas works in a similarly somber grisaille palette, but with tenderness in the soft details of the landscape and lines that indicate an old rambling hotel in a rural landscape dotted with fluffy pine trees. You can almost hear the wind blowing lonely through the bare spaces, while in the foreground, dark splashes and colorful dots become stand-ins for energy and activity. They make a border over which we, the viewers outside, look in at this strange, fragile-but-solid place. Both Gindlesberger and Salas adroitly plonk us down where we keenly feel multiple senses of place simultaneously; here, the hard pavement and the whir of traffic and sirens and voices; and the stillness of other worlds, a silence heavy in our own imagination.

But back to reality…

The real world of the present and past is what engages Rina Yoon in her installation on the northern corner of Wells Street. A giant woodcut print, Yoon’s Sunday in SOHI , the most abstract of the installations, and far and away the most colorful. These individual forms are sort of figurative, somewhat totemic, seemingly shamanistic and described as being charged “through a ritual practice to manifest wealth and prosperity upon all who view them.” Up close, they’re multilayered extravaganzas of small bits and pieces, colorful paper and wood and paint compiled into shimmering guardians.