Filling up almost the entire picture plane is an enormous, luminous, all-seeing eye in tints and tones of purple, grey, and white. The brush strokes are bold and free. The foreground is a dark shade of Prussian blue with some orange cactus-like forms. The glittering edges of these forms stand out. They are very tiny but noticeable. In the middle ground are amorphous shapes of surreal figures. In the center of the eye is a black made of pthalo green and alizarin crimson. Inside that "black hole," far in the distance is another eye looking through the telescope at the viewer.

Result #1

Filling up almost the entire picture plane is an enormous, luminous, all-seeing eye in tints and tones of purple, grey, and white. The brush strokes are bold and free. The foreground is a dark shade of Prussian blue with some orange cactus-like forms. The glittering edges of these forms stand out. They are very tiny but noticeable. In the middle ground are amorphous shapes of surreal figures. In the center of the eye is a black made of pthalo green and alizarin crimson. Inside that "black hole," far in the distance is another eye looking through the telescope at the viewer. What is it? It is a mysterious eye with a strange eye, just as the peephole in the picture plane is mysterious and filled with mystery. The mystery is not the same as the mystery of the giant eye—the mystery is the mystery of the eye that cannot be seen.The viewer has a big eye that allows him to see. It is the largest eye in the picture plane. The viewer is almost a god-like creature and there are hundreds of people who worship him, all with giant heads, or heads with eyes as big as his. Everyone has the same eye, and they all stare at him with the same zeal, as if it were God. Yet the viewer can not understand the image that he or she sees, which causes people to flee from him or her like the storm clouds that appear in the sky. In the landscape the vast eye that is seen above all is an eye with a large eye.In most of the works in this exhibition, like the others in the show, the artist is portrayed in a darkened studio, so that there are not many places to spend the night. There is no light in the exhibition, only darkness. In these works, light is not limited to shadows and shadows but can be seen and felt. The works are not only about the mind and senses, but also about the darkness that exists in the imagination. A supernatural vision that is not reality is possible only when the darkness is experienced in a dreamlike way and not directly in the real world. The atmosphere is definitely that of a dream. This atmosphere is created by the imagination, the reality is produced by the senses. The mind does not create reality, but the senses create reality. Through a dreamlike experience of deep and hidden realities, reality is seen in a way that is strange and different from reality. When we are dreaming, reality is not created directly in the mind; it is hidden in the imagination.

Result #2

Filling up almost the entire picture plane is an enormous, luminous, all-seeing eye in tints and tones of purple, grey, and white. The brush strokes are bold and free. The foreground is a dark shade of Prussian blue with some orange cactus-like forms. The glittering edges of these forms stand out. They are very tiny but noticeable. In the middle ground are amorphous shapes of surreal figures. In the center of the eye is a black made of pthalo green and alizarin crimson. Inside that "black hole," far in the distance is another eye looking through the telescope at the viewer. All the things are invisible except the eye. Since the eyes can only see the things we can see, these figures have an uncanny status.Some of the characters on view are more than just figures; they are symbols or more accurately, statements of meaning. One is called Closet (though she is not the kind of closet we are used to). These figures, though they are all human, are all abstract. They are the result of the English language and represent a kind of transubstantiation of meaning. Others are abstract but in a distinctly biblical sense. The four-letter words that sign our name appear on the upper half of the word Sharon (Pilgrim-the-saints). We are called to assemble and also to leave our homes. Those who would go through the motions of putting on coats, putting on shoes, or dressing themselves are called upon to make choices, and are reminded that the good, the bad, and the ugly are not only things but also signs. The way we treat ourselves to the things we like to wear and the way we interact with each other—a habitual display of affection and affectionate kindness—has been brought back into focus by the increase in commercial, mass-media, and advertising activity.Just as the world has been expanded by the ever-greater amount of information and information that can be gathered from television, so the world has been opened up by the Internet. Here, everything is accessible and accessible to everybody. The authorial voice is the voice of the observer, the reader. The Internet allows us to use the same kind of information to find new signs, new worlds, and new states of being. Theoretically, we can define the terms, determine the true meanings, and define the world by applying these standards. But there are many worlds, many signs, and many states of being, and they are never discovered. We are constantly being introduced into new states of being.

Result #3

The eerie, almost predatory tone of these objects is made all the more clear by the silvery-gray-gray atmosphere, which is a rich and richly structured foundation for a sophisticated paint and colors, rich and richly structured atmosphere. The work has a masterful sense of the invisible that gives it a strong sense of its power. It has a mazelike quality, too, but in a different way. A smaller, less ambitiously-metaphoric version of the celestial nature of the work, it is a brilliant, clear, and decisive piece. Two out of three paintings is made up of an enormous, luminous, objectlike shape, which is attached to the foreground in a continuous spiral movement. A clear glass eye is detached from the field of vision to allow the viewer to see the vast, abstract space that surrounds the star. The shapes are solid and recognizable in their distinctiveness. This set-up, along with the huge hole and the macabre contrast of the actual space of the painting, creates a number of disturbing associations, which the viewer has to deal with in order to engage the paintings sensibility. The shapes are angular and nonidentical to the surrounding form; the viewer is able to process them without being overwhelmed by their overwhelming presence. The forms are organized around a central central and a smaller, circular, but more luminous one, and they are performed in space in the dark. The central one, painted gold, is one that resembles a dove with its flowing wings, while the circular one, red, has two smaller wings on its back. The gold circles and large, circular forms create a kind of mystery, a drama that is performed through the use of color and tones, rather than through the objectness of the forms themselves. In this way, the central and smaller forms maintain an air of elegance that is marked by an intense and suppressed magic.

Result #4

The form of the telescope is weirdly ghostly. Nearby, with its sparkling shapes and sparkling colors, is a shadowy image of a monkey. While the monkey is looking at us, the figure in the sky moves from one side to the other. There is a sly humorous comic part to this stuff. Its dark and weird, grotesque and funny.

Result #5

Filling up almost the entire picture plane is an enormous, luminous, all-seeing eye in tints and tones of purple, grey, and white. The brush strokes are bold and free. The foreground is a dark shade of Prussian blue with some orange cactus-like forms. The glittering edges of these forms stand out. They are very tiny but noticeable. In the middle ground are amorphous shapes of surreal figures. In the center of the eye is a black made of pthalo green and alizarin crimson. Inside that "black hole," far in the distance is another eye looking through the telescope at the viewer. The viewer can see all these strange eyes floating in the darkness of the moon and behind his own back.Near the center of the picture, a large, belllike center is adorned with a band of black-and-white blotches. All the dots in this picture have the same color, the same high-contrast patterning. In the background is a light-blue background. The paint is applied almost directly on the surface. In a corner a cat, trying to escape a light, is seated on a sofa. A small, dark-skinned creature with a leather coat, sits on a bed. Several other figures, none of them male, also appear in the picture. The costume is pink, metallic, and shiny. Its not really a costume, but a mask. The figure is covered with a big brown lily-white scarf. In a second picture, the same figure is covered with white and yellow feathers. The entire image has the same background pattern as the center of the picture, but the feathers have the kind of depth of the paint that appears on the surface of the painted surface. The white contours on the shoulder and the fur on the head suggest an animal—a cactus? Or a bat? These are all figures that are neither human nor animal, yet all are big and strange. The smallest figure in the picture is a full-body sculpture of a big brown bat that is almost too big for the head of a human.This work was the only one in the show not specifically depicting aliens. It depicts not the creatures that we know so well, but the creatures that are so alien to us. Its hard to understand the intentions behind this set of images. I suppose its to give the viewer a sense of what an alien situation is like, and how alien it is. Perhaps its also a way to get into what is really alien about the world, the mysterious, unfathomable, and alien world that science and technology create.