San Francisco

Fran Moyer, Robert Hartman, and Sandra Archuletta

Richmond Art Center

Fran Moyer’s sculptures reflect current thoughts and inventive tech­niques. They are more than competently done, but not especially exciting, ex­cepting the pop art assemblages. With these she lampoons such contemporary culture problems as food fads, bureau­cracy, seductive entertainment, auto­mation and mass marketing. Miss Moyer has a rapier wit, and has found a special way to use it. Her works involving spec­tator participation may not be long lived––they are due for a lot of handl­ing. But one suspects that even this is intentional, a sly dig at our engineered obsolescence. At any rate, such con­coctions as Alchemist’s Valise, a compartmentalized case chock full of items as intriguing as the contents of your hostess’ medicine cabinet, are abso­lutely irresistible.

Hartman’s allusions to gardens seem to have formed of themselves, the colors gathering up under the artist’s brush as drifting clouds gather up in the sky. The effect is heightened by his habit of leaving areas of bare or toned can­vas. Hartman has an uncanny knack of stopping the brush at just the right spot. But, when he applies bits of paper or photographs to the surface he im­mediately destroys any spontaneity, leaving one feeling cheated at the re­sult. Fortunately, these instances are rare.

Miss Archuletta’s drawings and prints combine organic and geometric ele­ments with mixed success. She com­bines words in her titles in the same manner. Murcury for instance, may be an attempt to relate her combina­tion of circle, test tube, inclined planes and twisted roots to a variation on the astronomical mural circle, and mercury. Whatever her purpose, her titles are as provocative as her graphics, in some cases more so.

––E. M. Polley