David Holleman

David Holleman's exhibit proves that modern mosaics can be serious works of art as well as coffee tables.

In Holleman's landscapes, the rough texture of the tiles helps to suggest mountains and rocks. Easily the best landscape "Forum" suggests shadowy, muted ruins by tiles of subtly varying shades; the sky shines with uniformly bright blue squares. (Instead of buying finished tiles, Holleman colors his own to insure the desired shade.)

In other works, he combines mosaic tiles with additional media. For example, "Birth of the Water Lily" includes several blue and white enameled squares picturing an Indian myth (religious symbolism appears in many of his works). In some compositions--"Alice in Wonderland," "April"--Holleman sets a grotesque enamel figure against a neutrally colored, peaceful mosaic background.

His most effective works place bas-relief figures carved in red clay on a tile background. In the "Virgin Spring," the distorted angles and sharp indentations of the man's face suggest his cruelty; the girl's expression seems both fearful and frightening. The even ridges in the forehead, beard, and robe of "The Scholar" contribute to the peaceful mood of this work.

By including the paper molds which Holleman used to carve the clay, the exhibit suggests the complexity of his technique.

A group of portraits best demonstrates the artist's control of his medium. In the "Lovers," for example, the muted shades and rough, dull textures of the tiles contrast sharply with the brighter mood of the couple. Playing up the two-dimensional limitations of mosaics, Holleman has created a St. Francis who is startling in his simplicity. His square, soulful face contrasts sharply with the curved body of a bird. In all of Holleman's portraits, the most striking feature of his characters is their eyes. Carefully planned angles, precisely placed bits of tiles convey mood and emotion.

(An exhibit of urban redevelopment plans will open in Huntington Hall on November 18.)