Visiting the exhibit “Pilgrims” by the artist Clarissa A. Moreno (Wintergarden Lobby, 2 Transamerica Center, 505 Sansome Street, San Francisco, weekdays through September 29, 2000) is like exploring an exotic city.  Imposing (mostly female) figures populate the space, an explosion of color, textures and shapes.  After a little while, however, the viewer may realize that the city is his own and that these same figures reflect contemporary concerns.  They are all travelers, in our place and in our time.

Clarissa’s decorative flair, and a certain whimsy camouflage the satirical edge and sense of the absurd that underlie many of her pieces.  For example, in the installation “Joy”, a two-headed woman (a cut-out acrylic painting on canvas on a metal frame) wears a very white, see-through wedding gown that subtly hints at cherry-tipped breasts and red tulle around her thigh.  She is flailing her arms in a frenzied fashion, her hands casting shadow forms, an effusive smile on one face, a knowing expression on the other.  There is no more room for innocence, and while “Joy” appears to be concerned with sexual innocence, this is just a vehicle for raising a broader question.  The same question is posed, in a different context, by another painting of a woman with piercing eyes sitting expectantly (“Waiting”).

Frenzied also describes the energy that seems to flow through many of the pieces on exhibit:  whether it is the imposing cutout painting of a climbing female figure (“Climbing”) with figures embedded in her golden sinews; the dancers surrounded by riotous colors (“Cagedancer,” “Confetti”);  the expectant voluptuous female figure crouched on all fours (“Arachnid”); or the more explicit offerings of an amply endowed poster girl (“Bebe”), who stands on tiptoes over a couch.   

These creations are ultimately metaphors for the powerful forces that shape how Americans live today.  We are all caught up in this frenzy, unable to pause for fear of falling behind or missing out on something. 

But there is no rush to judgment here – the figures are deliberately attractive and unapologetic about who they are.

Some of the other work is more contemplative, but the feeling of restlessness persists.  An androgynous, sensual figure painted on the back and seat of a canvas butterfly chair, adorned by metallic chain beads covering the metal frame with ends dangling loosely, and glass balls like opalescent black pearls over her lap (“Chairperson”).  It is apparent to the viewer that the figure is trapped – perhaps by her own desires – but at the same time she is comfortable where she is.

 “Toy” is a richly-textured life-sized acrylic cut-out painting of a golden female figure, hanging on a clear glasslike panel.  She wears a cape of gold mesh wire and is bedecked in gold chain jewelry, with golden wire strands falling around her neck and shoulders.  This piece is a testament to the appeal of wealth and comfort.  Although Toy’s head droops upside down, her eye seems to see in all directions,  missing nothing.  Her chains are a deliberate choice, easily removed.  Or so it seems. 

Contemplation presents its own conflicts.  “Prayer and pool” is another installation of a golden figure with two heads, neither of which seem to be able to find the space to pause or reflect.  In “Prophet” the figure finds her own reality almost too harsh to bear but resists strongly, in sharp contrast to the passive stance of a subject facing encroaching roses (“Cancer of Roses”).  And in “Unrequited,” a kiss forces contemplation.

The show, which is in a public space, has evoked strong reactions.  A closer look at some of the pieces ("Prophet" and "Cancer of Roses") reveals that portions of the painting have been covered temporarily to disguise nudity.  A notice by the painting indicates that the work may be viewed in its original form at the artist's web site,  http://www.cmoreno.com.  There is also an implicit statement in the way the paintings have been covered, whimsically, and with a clear touch of humor, posing questions about our reaction to nudity in an artistic setting.