It is a generative sculpture. The long strips of LED lights fixed to the side of the train are not pre-programmed, but are triggered by sensors on the train that measure light, temperature, sound and speed and are constantly remixing live.
Although I am used to looking at contemporary art -- which often broadcasts its messages with great immediacy -- I found myself slowing down and scanning the 15-century works on view in their entirety, hoping for more subtle moments.
The first Llyn Foulkes' work I saw was one of the "blood head" works and it left a lasting impression. As I discovered more of his work, I could see that it is often dark, yet humorous, and he certainly doesn't shy away from contentious issues.
Artist Susie MacMurray consorts with the dangerous quality of beauty, that threatening edge between the sublime and the sinister. She understands exactly how, and exactly where, tension can form an unexpected harmony.
We in the West are inheritors of a compelling idea: There is a world of matter and looming over it, a world of spirit. I am reminded of this motif when considering the work of painter Jonathan Soard's exhibit Between Heaven and Earth: Inspirations.