Undergraduate artists at Harvard have a notoriously difficult time displaying their work. Only one student gallery is available, and it hangs about six shows a year in the limited space of a single basement room. Because of the dearth of exhibit space, many productive students rarely have the opportunity to show their works. Georgia Bush, a junior in Currier House, is boldly exploring other means of showing her paintings. All this month a collection of her oil paintings is on view at the Currier Senior Common Room.

This exhibit consists mainly of large scale abstract paintings, including several diptychs. In them, Bush explores color and paint texture, and the result is a lively and captivating compilation. A number of these pieces have been displayed individually at the Triptych Student Gallery over the past year. But the viewer may better appreciate Bush's craft here, because when several of her works are presented together one can grasp their relation to each other.

The initiative that Bush has shown in finding her own exhibit space and organizing her own show is well worth lauding. More importantly, her works are remarkable. To see such a strong collection of pieces from one artist is both refreshing and inspiring.

The series pieces (a number of diptychs and one triptych) are characterized by an even field of brush strokes, heavy layering of paint and the lack of focal point. In a lesser artist these techniques would seem hackneyed and dull. But Bush's individual brush stroke and dynamic use of color eliminate the potential problem. For example, Untitled I shows a spectrum of vibrant colors painted in brisk, assertive strokes which cover two canvases. The resulting piece has neither a central form nor dominant color. Instead the interplay of colors and the rich texture spread equally over the work, leading the eye in multiple directions.

As a whole this series is compelling. The Reds, two canvases painted much in the same style as Untitled I, contrasts with the latter because the colors begin to suggest forms. Orange and yellow hues which are etched onto the canvas side by side in the plane of purple, maroon and red hint at forms, not of anything recognizable but an area distinguished from the rest. This creates an intriguing tension between the equality of all the areas of the painting engendered by the harsh texture of the paint application, and the vague semblance of forms attributable to the proximity of similar colors.

Among this group of similar works, one disappoints: Celestial Soda Pop. Like soda pop itself, this work is not very inspiring. While retaining Bush's unique texture, it is dominated by white paint which obscures streaks of primary colors. This piece is diminished by its proximity to more vivacious works. In comparison to them, Celestial Soda Pop is bland--perhaps better suited to a hospital waiting room.

Bush's exhibit contains a couple of works which diverge from the style of the diptychs but preserve their stronger elements. Veridian Haze lingers over all areas of the canvas, but it is much smoother in texture. The flashes of color are muted by two washes of green, one behind them and one on top. Allowing the paints to drip together results in a harmonious merging of colors very different from the bold jumble of lines in the diptychs.

Multi Rose differs even more; it features a wash of pink and one dominant streak of color descending at the center and tracing the bottom edge of the canvas. This piece plays on the contrast between a monochrome background and the simple line composed of deep red, yellow and blue. Only in the line is the touch of the painter apparent. As a whole the work pleases in its composition and use of color.

Aside from these large format pieces, there are a few smaller paintings on view which follow in the same vein but are less impressive. Untitled II is notable for its serene aura. Its gentle blues and greens stretch in horizontal shapes subtly reminiscent of Monet's Water Lilies.

Georgia Bush has assembled a compelling exhibit which deserves recognition. The works are sophisticated and the hanging is commendabie. Combining these works allows one to compare them and appreciate the wealth of this student's talent. Hopefully other student artists will be inspired to arrange more one-person exhibits, creating a much needed forum for art on the Harvard campus.