ART REVIEW : THE MESSAGES ARE LOST IN AN EXHIBIT OF PAPER

A catalogue essay informs us that “Art Expressions in Paper,” a group show at Security Pacific’s Gallery at the Plaza (through July 27), is composed of “works by 15 artists who utilize the medium of paper to transmit aesthetic concerns.” Gee, what a scintillating premise for an art show.

We are also informed that for many of these artists, “paper is not the primary message, but rather, they use it as a tool for other art concerns.” This is what I call an art show in search of a raison d’etre. Though much of the work included is fine indeed, the show fails to make any curatorial point other than that this ancient substance--invented by the Chinese in AD 105--is fairly versatile stuff.

The essential character of paper is, in fact, completely obliterated in much of the work on view. The humble papyrus is made to resemble stone in Robert Rauschenberg’s wall sculptures, Neda Al Hilali creates the illusion of fabric with it, and Suzanne Anker does a trompe l’oeil trick simulating fossils and shells.

If anything emerges as a recurring theme here, it is that the style of faux naif primitive art currently so popular (check Neo-Ex, graffiti, etc.) is a favorite of artists who work with paper. Betye Saar’s vibrant mixed-media installation resembles a Haitian voodoo shrine, Winifred Lutz’s wall sculptures might be tribal shields, Pat Warner’s “Arch Scroll” looks like a primitive loom and Ann Page’s ambitious installation is evocative of an African spirit catcher. Raushenberg’s works, which are made of rag, mud, rope and bamboo, fall into this National Geographic bag as well.

The show does occasionally invite us to admire the modest glory of this simple substance. Sculptures by Kazuo Kadonaga are composed of thick stacks of rich, vanilla-colored handmade paper, and Charles Hilger bunches and scrunches the stuff in wall pieces that resemble cloud formations. Charles Christopher Hill underscores the intrinsic character of the material in “The Song of Roland,” one of three large wall works made from stitched layers of cheap newsprint. A large ‘X’ is targeted at the center of these ragged paper quilts that exude the fragility and durability of fine old parchment.