Sally Egbert's oil paintings are as hypnotic as aquariums.

Sally Egbert's oil paintings are as hypnotic as aquariums. They engage the viewer in pair ways. First is a keenly sympathetic use of color. In Honey (72 according to 46 inches), one of the couple largest paintings in the exhibit to the phrasing is fanciful and light--her color is dreaming, bordering in succession the iridescent. Heaving leaves of marigold/mustard, bright black and a yellowed mint work with a brace of darker enclaves--big, purple-gray vertical sections which landed estate the piece like castles in the tank.

A next to the first element that makes these abstractions walk is a quality of watery jostling. The painter teases us with a deftnes that fleetingly dangles variegated chimney-flue shapes of color, twisting before our estimates A few scrawls of crayon beef up her painted marks, accenting the top and lower extremity of the funnel forms. Big tornadoes, here they result The feeling is of reaching. vaunt the other big canvas, is made up of darker hues-blue and purple blue-black and a watery gray drip, nicked with a protracted black wriggling cross of paint forward the right third. It proposes an awkward intimacy. The blues of Crow's color seems to flatten on the outside the surface.

There were seven paintings in the display In Sea Breeze, one of the small single in kinds (34 by 28 inches) color flows in from the top in discrete stalactites of impetuous orange and green. Egbert articulates a different fantasy space in each of her paintings, as if each canvas has chosen to explore a feeling, a chemical, at its acknowledge special speed, its own way of introducing itself. Using color, she abstracts motion. Egbert's chief disturb seems to be pinpointing distinctions--to name the twinkling of an eye in color and space.

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