by Shelley Frost

“Seeing The Sea” at Angels Gate Cultural Center, which ended Sept. 22, was a welcome sojourn in the middle of my workweek, a mini-adventure into the world of art in praise of all things ocean. The exhibit’s range of media was extensive — ceramics, graphite drawings, installation, photography, metal sculpture, and more — and featured a number of remarkable pieces:

Caren Sweeney’s installation, “Journey Within II,” took me on a whimsical voyage right from the start. Walking along the circular path surrounded on either side by rows of miniature “pod boats” suspended from clear line from the ceiling, I felt as though I were traveling with a school of fish. Soft blue light, along with the shadows of the pod boats, added to the mystique and feeling of suspension. Riding in the pods were seeds, dried blossoms, natural fibers, sticks and beans.

Roger Marshutz’s ink jet prints of ocean waters highlighted the natural design talents of Mother Nature — the simple and beautiful patterns and rhythms of the ocean we take for granted, especially when we’re at the shore squinting for the elusive green dot at sunset. “Cherry Cove — One” actually reminded me of the quietest place on earth: Huntington Lake, above Shaver Lake in the Sierras.

I was pleased to see some ceramic art in the show. Shane Keena’s wavy-edged stoneware and porcelain-slipped “Tidepool Bowls” were remarkably textured. The matte, briny oceanic blue insides and the grainy, harsh-looking outsides were reminiscent of large crusty barnacles. Thankfully, I resisted the urge to turn them upside down and poke at them.

Jacy Diggins’ “Vast Space Surroundings” was a fantastic map made of what looked like rough handmade paper of various hues, mostly dark blue. From the dotted topographical lines — sewn in white, blue and sparkling threads — I imagined that the dark blues represented the deeper parts, the lighter blue and washed-out whiter areas represented the higher elevations. “Vast Space Surroundings” refers to both the ocean’s vastness and that of personal experience, Jacy says.

Chris Wuthrich’s “Nautilus” perforated stainless steel sculpture lamp — in the shape of said shell — cast a wonderful light as it hung suspended.

Denise Bartels’ “H20 from Hand” graphite drawings on herculene offered gentle and thoughtful images, while Gil Mares captured the shockingly vivid oranges, blues, and yellows of rusted local anchors in his cibachrome photos mounted on aluminum.

Finally, Frank Expiritu’s “Fugu” — a tangled wad of wood, fishing net and little surfboard fins suspended from the ceiling — reminded me of something my cat usually coughs up after we let him onto the lawn for supervised grazing. Only the art elicited a much more delighted reaction from me.

My compliments to Angels Gate and all the artists who provided my heart with pleasure, inspired my eye’s admiration and freely gifted yet more fodder to my over-active imagination.

(Back to top)