Not just a hodge-podge members'show, but one that fell under the rubric of "Found Objects/New Contexts" recently ended at the Da Vinci Art Alliance 704 Catherine Street in South Philly. The all purpose title featured a wealth of multimedia work that included painting plus sculpture, work born of a variety of sources and more so as to cover the walls and floors in fine effect.Styrofoam, toothpicks, acrylic paint and much more add up to a found object portrait in "Prickly Girl," by June Blumberg. This consists of a wig head atop a block that sports a tennis ball cut in half for eyes, while it is smeared with a variety of varicolored paint. A number of toothpicks cover the thing, hence the title, while more objects fulfill its being with its own collection of selves.

This suggests both a mutant and an infant, and either one or the other is downright impossible. There is at once whimsy and fearlessness through this "woman" so that her name is kept secret.

"Found Bottle," by James Huchinson, is exactly that. This is one of the works that have expanded this show's parameters in that the mixed media element is only graphite. Indeed, it is a pencil drawing of a large vessel that yields a longish neck and brings to mind the rigorous training of the Pennsylvania Academy of the Fine Arts for this work's remarkable technique.

There is also a doppelganger in the form of a shadow beyond the mundane in the ease throughout its presence and prescience alike. The light flickering off the bottle is a length that keeps fast all shadows'heft.

The wondrous and eclectic David Foss has gone in a whole new direction with "Archetype Feminine." This sculpture consists of an upside-down basket that itself is topped with a strange structure marked by economy while at the apex is yet another basket. Both surrendered their functional aspect to a pure aesthetic, and the whole structure is slathered with a grayish wax.

This sounds ugly but it is anything but that. Instead, it possesses a rich beauty that deepens on sight and fulfills a roundness that is at once confluent with the structure of the work in its organic content for an impetus gone maternal.

Regina Barthmaier offered up my little pony by the name of "Hercules." However, this is no flesh and blood equine but a mass of wires and various electronic parts salvaged from computers that have been obsolete for well over two decades now. Chunks of circuit boards connect scraggly cybernetic junk into the heart and soul of this horse that stands waist tall.

The beast's small size lends it an impact that is very much centered in the unwavering stare of the creature's detritus eyes, along with some wit in that the animal is wearing headphones, though what the music is must be a stately march.

This exhibition yielded a plethora of aesthetic choices filled with a variety of surprises. In total, this art's own aesthetic was all that much stronger and hence fulfilling due to the wisdom behind it.

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