This ample survey of work by Florissant-born artist Melvin Meyer (he earned his nom de pinceau the old-fashioned way — he's a Marianist monk) traverses an array of media while staying true to a sense of the ebullient sublime. In bold primaries and other exuberant hues, large-scale abstract acrylic paintings move between diffuse swaths of gestural marks and crisp geometric profusions. Like puzzle pieces, the elements interlock in a way that suggests simple resolution while the parts themselves argue otherwise: They burst with expressive untidiness and unpredictable rules. Divided into two parts, the exhibit segregates these abstract pieces from more figural and subject-driven work. Self-portraits, paintings of colleagues and several series of religious works share an approach similar to the nonobjective pieces: Colors effervesce, and a kind of light, disjunctive Cubism prevails. A series of sculpted crucifixes, made of scrounged hardware and tools make it clear that no single material defines this oeuvre more than an eclectic,... More >>>