Seattle

Alfred Harris

Cliff Michel Gallery

In his previous show, Alfred Harris produced two marvelous, semantically complex images. In Triumph of Intolerance, 1988, a thick wine-red band of a line flows out from a vulva-shaped incision in the palm of a hand. It takes a hard right down the canvas and into a cup, an elaborate antique vessel taking the shape of a human torso. The lengthy connecting line turns the two distant images into one: an emotionally compelling statement about interpersonal receptivity. In Citadel, 1987, Harris creates a sense of connection by overlaying two sets of references onto one diagram. The central image is of two towers floating in the sky. The left is a square battlement, the right a churchlike spire: egoistic defense-structures connected to altruistic aspirations. The interior is like an architect’s rendering of a pueblo, a place of many chambers with ladders connecting levels: an image of the

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