At a time when the visual arts suggest acceptance of the insecurity and impermanence of man’s environment by virtually encouraging disintegration, Cremean’s solid construction, his avid attention to explicit detail and apparent absorption with “method,” reassures us. This quality would be without value if the pieces as works of art failed but nothing Cremean attempts appears to be trivial. Each work proposes a concentration of valid artistic solutions which are surprising in an artist only 32 years old. He rightly devotes equal concentration on all aspects of his creations, playing negative against positive space forms, contrasting values and textures, relating patterned surfaces to plain while introducing some original figurative concepts. If there is any fault in these laminated wood sculptures it would only be that they are occasionally comprised of more solutions than might safely be tackled at one visit. But while this massing of invention may prompt some visual consternation there is certainly no lack of surprises in store. Cremean pursues the possibilities to be exercised in several themes––anatomy lessons, in which life sized male figures are displayed at various stages of dissection, and the female figure disrobing as she steps from her bath. Whatever the subject though, it is quite obvious that it is getting the full treatment by a major talent.

—Curt Opliger