The choice of yellowed old newsprint paper was a bold choice for the piece, entitled, “Ralph.” But rather than convoluting or muffling the stringent yellows of the subject’s flesh, it served to only to highlight the confusion and disorientation the boy obviously endures.

“Lumpy Space Princess” captures its subject in a rare moment of indecision. If one looks carefully, the word, “oh” is barely visible among the swirls of the Princess’s lumps. Undoubtedly the beginning of her familiar declaration of “Oh my GLOB…” yet the artist purposefully left the phrase absent, thereby allowing us, for just a moment, to see the fragility this ferocious child of Lumpy Space takes constant care to conceal.

And now one of the more challenging images of the exhibition. The subject, “Lemongrab,” addresses the view directly, and he is displeased. We don’t know what we’ve done to incur his wrath, and one rather imagines the artist was trying to communicate that very same nebulous terror that Lemongrab’s subjects endured, serving under his biting regime.

Contrast that to the relationship referred to between “The Ice King,” and his unapologetic minion “Gunter.” There is no oppression in Gunter’s expression of body position, in fact a continuation of the line of his orange nose would impale directly into his master’s icy heart. Who really holds the power in this dynamic?

Now we come to “Tree Trunk’s Dance of Seduction,” by far the most experimental and erotic of the artist’s offerings. Note the Picasso-esque shaping of the elephant’s buttocks..at once facing and to the side of the viewer. We are forced to contend with the outrageous sexuality of an unlikely source, a small yellow elephant with a Texas-Gramma accent and an affinity for pie baking. But that’s not all she is, and the artist dares you to acknowledge it.