SANTA MONICA

Tim Ebner’s massive new untitled works apparently represent state-of-the-art possibilities in the manufacture of vacu-formed acrylic. Called “paintings,” they are as robustly three-dimensional as some sculpture and lack even the slightest contamination with any type of paint.

Each 92-inch round is made of specially dyed plastic into which air is shot at high temperatures, creating peaks, valleys and swirls that look rather like extreme close-ups of cake frosting. These wall-hanging discs come in all-white, teal, light blue, raspberry, caramel and a vanilla-chocolate combo. A somewhat smaller set of triangular shapes with similar designs and colors is also available.

Some years back, Ebner was using a wax-resist process to create fake “brush strokes.” More recently he has experimented with faceted acrylic panels meant to be moved around in modular fashion and with decorator color schemes. The new work still postures in fashionably arid ways.

It combines the tortuously derived--although factory-made--simulation of certain qualities often associated with painting (like the turgid rhythms of the swirling colors) with a cool denial of other qualities (like the tactile record of the artist’s hand). And the mass-produced surfaces and vapid designs purposely reveal none of the fussing involved in getting each piece from one perilous stage to another. (The “paintings” are limp and ultra-fragile until backed with resin). No doubt, however, those in charge of filling corporate walls will find these works as blandly soothing as New Wave radio. (Kulenschmidt, 1634 17th St., to April 29.)Cathy Curtis