Then there’s Jordan Eagles, who employs dead animal blood into his work. “Blood is so close to spirit, I use blood that would have been disposed of, from a slaughterhouse.” Mixing the liquid with resin and minerals, or enmeshing it with metal copper, Eagles employs an innately sexual jungle onto Plexiglas. Imprints that joyously recall wild splatter and kisses, Eagles’ $2400 preservations well earn their wild corner spots at Krause.
Overall, works exhibited were very Zen-like, serene, and filled with depth and possibility. Be it a smoky, surrealist interpretation of some social or psychological phenomenon or a large panoramic mixed media landscape portrait—all the artists share the name and image of Krause, in their final invitation to the world to partake in their excellence.
