The Fountain Gallery of Art, an unusual gallery for Oregon . . . a must for visitors. The gallery directors have their sights set on individuality . . . Rare! It takes aesthetic guts to bypass the many current demands; especially, the pre-set contemporary image. So far, they have tried!

Representatives from the Gallery’s artist-group:

Hilda Morris, painter-sculptor: examples of research resulting from a recent $10,000 Ford grant. Sumi ink paintings, uniformly large, covering the scope of the landscape . . . from intimate to vast. Some seem derived from quiet shadowed places . . . within a forest . . . or dappled rock crevices in bright full sunlight; yet no direct identification is made. Range of values varied, but complete: recalls the velvety, liquid, dramatic values utilized by Ansel Adams in his photography. Some shapes are repeated too often, both in scale and “kinds-of-shapes;” this is the constant bugaboo of paintings swiftly-executed. Paintings seem specifically designed to sell. They will—what with all the contemporary-Japanese architecture about these days. One could swear the artist (physically) is a sister of Carl Sandburg.

Michele Russo. Frank, honest distillations of situations. Russo is still, primarily, obligated to basic original forms—abstract selectivity. There are indications that Russo is gradually depart-ing, further and further, from original situations, with greater re-creating and re-organizing in the offing. The slow, measured pace of Russo’s development is an indication of his stature as an artist . . . solid as the organizations he evolves. His eye completely ignores the trivial, as if such did not exist. Result: a surface organization that works; bare of all but the essentials. Russo is happily obligated to the surface. While he explores space, it is always with the eye directed back to the two-dimensional character of the canvas. Russo is, unquestionably, one of Oregon’s competent creative individuals. He is ready for a wider audience.

Neil A. Koch