Continuing through August 1, 2010
Fresh on the heels of co-curating the University of Oregon\'s Donald Judd conference and exhibition this spring, artist and critic Jeff Jahn mounts \"Vection,\" a solo show of his own in response to ideas he encountered during months of Judd research. These ideas are integrated with two of Jahn\'s longtime motifs.
First, in works such as \"Canopy\" - mounted on the wall ten feet above the gallery floor - there are the jagged, rough-hewn wooden teeth, which Jahn uses to communicate the sinister quality of nature in the Pacific Northwest, with its active volcanoes and tectonic volatility. Secondly, Jahn coats freestanding sculptures in what has become a signature color for him, a cross between lime and chartreuse. It\'s just organic-looking enough to suggest moss or lichen, but just artificial enough to suggest eerie, man-made materials such as industrial or radioactive waste. The large-scale \"Middle American Mountain Migration\" spans the gallery\'s south wall, its noncontiguous components blossoming across the space like a lotus flower made of oversized glass shards.
Across the gamut of the intuitively laid out and visually satisfying exhibition, Jahn offers a private, regionalized distillation of Judd\'s theses about the relationships among objects, observers and space.
