Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Related Stories ...

Most Popular

  • A Child Left Behind
    The near-starvation of a teenage girl in Carnation is just the latest case in which the state has failed to protect endangered kids.
  • Bleach: Krist Novoselic Interviews Dale Crover
    The Nirvana bassist chats with the Melvins drummer about making Bleach, Metal Church, and their friend Kurt.
  • Recording Nirvana Before They Were Nirvana
    Jack Endino recorded an unknown, unnamed band at an unmemorable session that he'll never forget.
  • Cover Story: Barack & Load
    Alan Gottlieb’s challenge to a gun ban in the President’s adopted hometown has made it all the way to the Supreme Court, and fattened the ex-con’s wallet in the process.
  • Nirvana: Back in Bleach
    The first Nirvana album was probably the last one you heard, but it marks a critical chapter in Seattle music history.

National Features >

  • City Pages

    Michele Bachmann, Unmuzzled

    You don't need to read Sarah Palin's book to hear the ravings of a mad woman.

    By Matt Snyders

  • Miami New Times

    Pimp Daddy

    The rise and fall of a chubby sex-cult leader.

    By Natalie O'Neill

  • Riverfront Times

    Babe 'n' Arms

    Tom was a hot-tempered cross-dresser with a garage full of guns--and then he became Rachel.

    By Nicholas Phillips

  • Dallas Observer

    The Fight for Texas

    Rick Perry and Kay Bailey Hutchison are locked in a battle over the soul of the GOP. They're also running for governor.

    By Sam Merten

I Saw This: Never-Never Land

Gala Bent at Gallery4Culture.

By Adriana Grant

Published on April 14, 2009 at 7:45pm

Gala Bent is the author of tall tales, in gouache and graphite with imagined animals caught in suspended animation. One of the strongest pieces in her current solo show at Gallery4Culture is Ship for Fools, depicting a long-haired girl, bent over the side of a kaleidoscope-colored vessel, with a blue unicorn on her back. Look closely at the girl's wrists, and you'll see fingers extending from what look like hooves. White puffs emerge from all sides of the craft, which seems more airborne than seafaring. (It hovers in a pale blue wash; the ground could be either air or water.) Here as elsewhere Bent indulges in fanciful patterns and highly worked details. The texture of the girl's hair is carefully rendered, as are the individual drops of blood spilling from a gash in the unicorn's haunch. The details read as true stop-action documentation, even if the narrative is more oblique.