Pegot Waring presents a large yet unbalanced exhibition in numerous technical areas. Her finest, simplest, most perfect works in sculpture give a quiet, sustained pause and reveal a depth of personal feeling and grace. But the least of the works, the oils, present a stretching or undigested talent too early to be viewed among more worthy works. The small wood sculpture “Snail” is a fine work both in warm burnt sienna tone, in moulded wood forms, in material, feeling and mounting where the sculptor extends her vision beyond the obvious and gives the forms an internal movement and grace. “The Eagle” succeeds with a dark grey marble surface which is sensitive toward monumental form. A young and smiling beige marble smoothly surfaced “Whale” is a cheerful play of simple and sensitive form, apt in material and poise. A small group of cast bronze “Transformations” seem an entirely new direction where clay moulds to an esthetic of heraldic purpose, with extra meaning according to subject, such as the elephant and sphinx-like lion back to back reflecting Asokas’ pillars. The oils show bands of snake-like form which could have been convincing in black and white, but where carefully stroked or edged colors fail to achieve the palette for their content. Where the watercolors such as “Bird Which Sees” retain an essential design simplicity which reflect the best sculptured works, they succeed. A few bird drawings of 1958 reminiscent of Morris Graves have a grace and flight that transcends heaviness in three-dimensional form. This potpourri exhibit could well have been selected with greater care, where lesser areas of a fine sculptor’s interest could not impair the larger vision.

—S. C. Schoneberg