Jon Legere's paintings and photographs are fragments of reality. Given this, his work resembles that of Robert Rauschenberg, the leading American Neo-Dadaist who works in a similar manner.

Legere's works, like those of Rauschenberg, are a reflection of contemporary culture ? disjointed.

It is a reflection of our contemporary culture in that much of what impacts us is disjointed and fragmented, with television a prime example. Legere mostly combines fragments, from old drawings, paintings and photographs, collaged together.

He also admires the work of Marcel Duchamp, the French modernist whose works were an on-going exercise in extending the boundaries of art. Of considerable interest is a catalogue from the New York Whitney Biennial, which includes Legere's contribution to that exhibition in 2002.

This present exhibition, which is being held at the Rock Island Coffee Shop, is entitled, 'Pomo Cuts'.

The title might not mean all that much to most, but as Legere explained, "pomo" is Homer Simpson's abbreviation of "Post-Modern" and "cuts" is a term from the film industry that indicates the moment to stop, as when the director says, "cut".

Although Postmodernism is difficult to define, many issues engendered by Post-Modernism, including "deconstruction" are rooted in the works and thinking of Marcel Duchamp.

Legere's use of 'cut' seems to have multiple meanings, but in this show, he cuts out or into his paintings or drawings in the traditional sense of the word, as with a blade. A prime example is 'Self Cuts'.

Here he presents us with a series of self-portraits, but with this difference ? he has cut out features from other self-portraits, such a a screaming mouth, which is then pasted-on to the photograph. It reminds me of Munch's 'Scream'.

Of pertinent interest, perhaps, Mr. Legere's background is in video. This may explain his way of painting, especially the fragmented aspect of his work. There seems to be a kinship between the way he composes his paintings and the way films are often put together.

Although there are only 18 works in the show, there is substantial visual variety. At the same time, there is a certain personal identity to the work.

It is apparent that all the works are a product of a single individual. The variety comes from using different techniques and materials; additionally, his paintings are differences sizes, from tiny to fairly large.

In 'Hotstep', Legere uses one of the old coffee sacks that he got from Rock Island.

It comes with an old man with a walking stick silk-screened on it.

Legere retains this and adds other elements to it. The old man, however, is anything but "hotstepping".

'Fish and Hook' is a diptych. That is, it is made of two stretched-canvas panels. Like the other paintings, this one is made up of fragments.

In fact it was this painting that first impressed me with the possibility of Rauchenberg's influence. On one panel, there is an image of a fish, but on the opposing panel, there is a depiction of an very large eye and other circular forms, possibly eyes as well. Do the eyes represent the fish looking at us?

Often it is through eyes that we apprehend the living aspect of a creature. By this organ we penetrate, if only fleetingly, into its "soul". It is through the eyes that creatures communicate, even between humans and fish.

When they die, however, it is as if a curtain had been drawn across the eyes and the lights go out. What about the hook? In this painting there are actually two fish-hooks and both are located on the left panel, near the giant eye.

What is the artist saying about fish and hook? Is fishing with a hook cruel? Do fish have sufficient feelings for a hook to hurt? Or is the artist merely presenting us with a statement of reality without any social commentary?

We bring to a work our own experience and interpretation.

'Untitled in Pink' is one of the larger works in the show. Its most conspicuous form is a floral-like cut-out in the upper right. What is this? Is it important to know? As if a pendulum, a line drops from this form to another circular form at the bottom.

This suggested a clock, but there are not enough "petals" on the floral cut-out to indicate the correct sequence of numbers. The title refers to the painting's dominant colour, pink. Since pink appears so much in this show, it seems to mean something, but what?

I suggested the impact of Warhol or DeKooning, but is that really true?

I asked the artist about this, but that seems not to be the case. He said that he had no real reason for using so much pink except that he likes it. He also said that growing up in Bermuda, he was surrounded by pink.

Considering Legere's smaller works, I noted his series of small drawings entitled, 'Pomo Drawing I' and 'Pomo Drawing II'. These are cellular in nature, suggesting growth. Additionally, 'Pomo Drawing I' has small, shocking-pink clay appendages that are stuck onto the work in the middle of each cell. Across the room is 'Sea Pudding'.

This is another small drawing with similar, small, white clay additions in a double row along the creature's back. In both cases, the additions are effective in capturing interest.

I have only been able to briefly describe a few works from this exhibit. It is an unusual show for our Island community, but one that provokes thought, should one have the time to ponder the ramifications of what these works suggest.

@EDITRULE:

The exhibition continues through December 31, 2006