For David Ingenthron’s latest show, he expands his oeuvre, focusing more on sculpture rather than his vivid paintings containing quirky figures. “Triumph” is a russet-colored, elongated piece stretching all the way up to the ceiling. The person’s legs pose on a yellow rock but the face is nonexistent. “Attachments Thread” features a fuzzy, pink-carpeted platform with two branches stemming out and upward. On one side is a face, the other side is left open to place detached parts into it. These are grotesque faces that resemble shrunken heads. Ingenthron’s signature paintings are also represented with “Natural Love,” where his dappled creatures and colorful shapes intermingle. In “I New, I Thought,” rose-tinted bud-like objects sprout against a pale blue background spreading over a massive canvas while a white block intersects the beauty of the landscape. Charcoal is used for “Transition,” a somewhat austere work with an earnest, shaded face and another face rising above his head indicating self-removal. Ingenthron’s panoply certainly aims for another dimension, hitting people with his eclectic and conundrum-fueled works, making one wonder what else will rupture from his bright canon.
(Garin Pirnia) Through December 22 at 65Grand