photo by Poole Brian DeYong’s ‘Untitled’ paintings are sumptuous, releasing more questions and inciting deeper involvement.

This year’s triad of Bachelor of Fine Arts exhibitions continues strong with Brian DeYong’s and Stafford Trapp’s BFA II show. The work is a stark contrast to BFA I in density and material, which highlights the diversity of artists studying at Calvin. While BFA I was packed to the doors with large work, the current show is sparse but substantial, consisting of paintings, sculpture and video.

The space of the gallery is split between the artists: the walls are DeYong’s, the floor Trapp’s. Both artists’ works fill their relegated spaces well, and the range of visual experience achieved without a proliferation of images helps to foster a visually subdued, yet vibrant, exhibition.

DeYong’s work is enigmatic; in many of his works the strokes of paint don’t immediately deliver their intentions, and this seems to be the point. These images appear to exist simply, or at least primarily, as visual experience. This is a characteristic that has been frowned upon in contemporary art. This does not mean that the work is bad or wrong; rather, DeYong has exhibited success in one aspect of making objects, specifically making them interesting.

It is a credit to DeYong that his mind works in multiple gears as three of his series begin to bridge into a fusion of ideas with luscious visuals. The three paintings of “Microcosm Triptych” are within this success as they are stunningly created while existing beyond the surface of paint and canvas.

The images consist of ambiguous geographical-like shapes of two complimentary colors that meet in crisp edges. The works present visually engaging scenarios that begin to release more questions and incite deeper involvement than his untitled series of gorgeous, yet flat, canvases.

The long back wall of the gallery is well used by DeYong to display his newest exploration tussling with content and concept. The eight-panel work entitled “Interdependent” begins to poke around in the dense, dark territory of idea, and it seems DeYong had to leave much behind to get there.

The minimal black and white line paintings on uniform panels are a departure from the organic forms and sensuous colors of his other work. “Interdependent” is exciting in its questioning of individual versus community existence.

However, after experiencing the sumptuousness of his other works, a fusion of the earlier form and later concept seems to be an exciting prospect. DeYong’s success of the parts individually lends credence to this possibility and, hopefully, the streams will meet in a river someday soon.

Trapp’s pieces deliver an initial reaction due to the shear nature of his work. Consisting of one large found object sculpture and three video pieces, Trapp graces the Center Art Gallery with the first such artworks in recent, if not all, its history. His found object piece consists of three four-inch high, gray platforms with dozens of space-themed toys arranged on top. Above each platform dangle around half a dozen uniform metal flying saucers.

photo by Poole Stafford Trapp’s toy-filled sculptures test the boundaries between play and art.

The work drew numerous children close at the opening, and undoubtedly garnered the same reaction (although it was noticeably more restrained) in the adults present. It is hardly possible to look at the numerous toys and not sense their potential as playthings. They are, after all, toys and meant to be manipulated and handled. This tension is fascinating, but if Trapp ended there it would have been tremendously disappointing.

The tension of bringing outside “non-art” objects into a gallery is a venture of precision. It is very easy to dip into the trite or uninspired when navigating the 90-year history of found object based artwork. Trapp cleared most of this hurdle with the addition of the handcrafted element of the saucers, and the complementary video piece located near the sculpture.

The video is a looped tape of Trapp playing the video game “MarioCart” in a seemingly endless session. The piece, however, becomes like watching an “actual” race, as the flickering images become hypnotically engrossing. This video acts in a way like the toys. It is more-or-less a found experience, captured and displayed for a gallery-going audience. These two childish accoutrements (toys and video games) provide an inquisitive juxtaposition to the supposed seriousness of art, and a refreshing comparison between art and play.

The one thing missing from Trapp’s pieces were titles. The potential for wit was high especially in the toy piece. Connotations abound from the space-themed sculpture filled with little green aliens. His other pieces would have also benefited from some direction given by a title.

Unfortunately, the day this paper hits the stands there will be only one day left of the show, but make any attempt possible to experience this wonderful work. BFA II will be open 9 a.m.-5 p.m. today and 12-4 p.m. on Saturday.