While the putto (or baby angel) owes some of its conception to religious and mythological characters, it has been largely defined and redefined by its use in art history. I’ve always found the uses and meanings of putti endlessly intriguing — how they can be variously romantic, mischievous, horrified and even violent at times. But the complex putto is just one of an orgy of symbols and shapes that are piled into the paintings and collages of Merlene Schain. Her current exhibition, Life, at the Phyllis Weston–Annie Bolling Gallery, is dense and decorative. Actually, many of the works put my stomach in knots, but I feel that the artworks and the accompanying statement intend that. Schain empowers her own work boldly, saying, “It is the conquering of evil, the belief in something beyond this work, and the deep emotions we feel that interconnects all people on this one planet.” Baby angels are entangled in knotted marks and joined by Asian influences, floating spheres, nature imagery and various depictions of clouds and weather. The work on display is energetic and full, but there are even more paintings downstairs in the gallery’s stacks that can be viewed by request (you can preview these on the Web site). 11 a.m.-5 p.m. Tuesday-Saturday through Oct. 25. Get details and find nearby bars and restaurants here.
This article appears in Oct 22-28, 2008.