Darryl Zeltzer’s recent showing of paintings balances East with West, Oriental mysticism with technology, figure with ground. These works were prompted by frequent visits to India, and they reveal a deep commitment to the environment, to natural materials, and to sacred imagery. Many of the pieces have been painted on handmade paper. In Flabellum, 1989, the central image is drawn in pencil, then covered with a mixture of tar, oil, and beeswax. The paper resembles vellum and is mounted on wood and framed in cold rolled steel. This contemporary ideograph can be read in a variety of ways: as a tree