The overtly symbolic yet highly personal paintings of Tom Wudl speak of the artist’s long-standing study and practice of Buddhist meditation. To his credit Wudl does not set his imagery adrift on the vague, cloudy kind of structure often associated with Western devotees of such practices. The best of his work employs a raw, stark, emblematic iconography updating certain terrifying and horrific aspects of visionary Buddhist art. His imagery seems entirely personal, as though it were derived from first-hand observation.

The image of a nude young woman appears again and again in these paintings,

Grant Mudford’s color photographs of truck trailers, like much other work, are dependent on context. Mudford has previously photographed similar subject matter, but in black and white; by using exaggerated film grain and contrasty lighting to emphasize line and a sense of flatness, these earlier pictures have blended the formal elements of his subject matter with characteristics of the photographic material. The recent color photographs here appropriate the subject matter in a similar manner, but utilize different strategies.

The evolution of the work has demonstrated a progressive organization