The art capades 

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Paintings by Mira Hnatshyn are on view at ONE9ZERO6 Gallery.

I'm avoiding the Blue Star Arts Complex this week, not because I'm blackballed but because it's good to remember other art spaces. ONE9ZERO6 Gallery (1906 S. Flores, 227-5718) presents 5 From Salon Mijangos. Paintings fill the gallery with a hearty, abstract language that sometimes breaks into recognizable forms. They represent the work of Alberto Mijangos and four of his long-time students from adjacent Salon Mijangos.

Mira Hnatshyn's paintings are strong and well balanced. Her palette is compelling for its combination of earthy and vibrant tones, and she balances texture equally well. Lina Lang, a teacher at Salon Mijangos, shows mixed media works on paper. Their smoky gray and white palette is both expansive and tranquil. The most effective, "I'm melting into Noontide Sun," removed almost any trace of representation.

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Robert Trépanier's human- and canine-form kites can be seen floating over the Canadian landscape at San Antonio College's Art Center Gallery.

Alberto Mijangos' own works include three expressionistically rendered small figures and one large canvas, but all of the paintings in the show reveal his strength as a teacher. These artists are striving for nirvana through serious painting.

Mijangos' spare yet warm studio and gallery (1908 S. Flores, 271-9592) shares a loading dock with ONE9ZERO6. His current show, Artists' Periferals, is as different from ONE9ZERO6's chunky paintings as can be. These are scrappy, surrealistic drawings on notebook paper and business envelopes held fast with push pins. The artists are Kyle Cheatham, Lizzy Wetzel, Clay Stinnet, and Jon-Cory Rankin. Some drawings appear to come from a Dr. Suess world, others are seriously critiquing this one. This kind of youthful, comic and zine-inpired work is often seen but these are better than usual.

Next I headed to i2iphotography (2110 McCullough, 744-7887), a gallery in a classic McCullough storefront with tall windows and vintage tin ceiling. Art spaces come in many forms but this is the one we close our eyes and imagine as a Platonic conception of "gallery." On display is a painting show by Austin transplant M. W. Moss called Parts of the Whole. The works are a lot about line, particularly undulating female outlines, and certain body parts influenced whole other paintings. "Coming Through" stands out from the others. It depicts an abstract swimmer diving under water. Apropos to its subject matter, the painting's layers are thin and washy. Abbreviated painting and simple shapes give it all the charm of Milton Avery's works.

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"Coming Through," by Austin transplant M.W. Moss is hanging at i2iphotography.

Just blocks away is a kite show at San Antonio College's Art Center Gallery (950 Lewis, 733-2894). The exhibition's statement reminds us that a kite's "technology is modest and refined, the result of a 2,000- year evolution." Stuart Allen is a minimalist sculptor with a deep interest in kite traditions, particularly within Japanese culture. He has installed two rows of seven kites, with solid white kites outnumbering solid red. All of them have long, braided tassels that melt on the floor. The forms hover above the ground, like Buddhist monks controlling their physical urges.

Montreal artist Robert Trépanier is puppetmaster to Allen's zenmaster. He paints and shapes kites into super-sized people and dogs, and then floats them in the landscape. His men, who look like British gangsters, float dreamily down rows of trees or hover over rowers on the water. The unbearable lightness of being is well captured in a unique medium that blends painting, sculpture, and theater.

By Elaine Wolff



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