From the moment I entered the Rox Gallery, my experience surpassed any other excursion we’ve been on so far. The vibrant colors demanded attention and brought a feeling of excitement to the viewers. Looking closer at the works, I found something even more interesting than vibrancy – each piece had multiple shapes and textures, bringing about a collage-like result. This made the pieces even more entertaining, because we were able to imagine all the effort that went into creating the variety of surfaces and space.

These different dimensions, layers, and exquisite colors brought on a futuristic atmosphere in the gallery. The colors alone made me feel like I was in a glow in the dark mini golf course as they radiated off each surface. Because of this, the handmade art brought about a paradoxical appearance of digital art. This intention of the artist reflects the norm of today’s society, as we spend most of our days entranced in the screens of our cellphones, tablets, and computers. In fact, some of the frames were so square and small that I couldn’t help but feel that I was looking at an Instagram post. These futuristic and current day aspects of the exhibition made it that much more relatable and exciting to view.

The exhibition as a whole conveyed the evolution of process. On one wall, there were ‘basic’ paintings with different brushstrokes, colors, and shapes. On the opposite wall, there were striped paintings that added another layer to the painted surface with glued on strips of painting. Finally, the most elaborate sculptures on display included three dimensional wood cuttings. This evolution can be seen not only on a broad level (in the gallery as a whole) but on the small scale of a single painting. As the artist stated, this evolution is all about discovery, the idea that the mystery product would come as a surprising result of an intricate and spontaneous process.

The spontaneous energy of the artist can be felt just by walking through the gallery, making this experience both captivating and exhilarating.