Art is a two-way street, where an artist's intent and use of materials intersects with a viewer's individual perspective and recollections. And there are some who can feel a little lost on that street, unsure of how to read the signs that lead to a deeper understanding of the artist's work.

Art is a two-way street, where an artist's intent and use of materials intersects with a viewer's individual perspective and recollections. And there are some who can feel a little lost on that street, unsure of how to read the signs that lead to a deeper understanding of the artist's work.

The beauty of "Collection (Re)Collection," November's show at Ohio Art League, is its emphasis on how quickly and instinctively the human mind works to make connections between the seen and unseen, and to question what's in front of us, whether or not this skill is appreciated.

Artists Jeremy Stone and Scott Neal present works of relatively simple shapes and materials. With each, you're forced to wonder about the construction or fill in visual information with the mind's eye.

In Neal's "Chunk" series, large cubes of white mat board are placed in a gravitationally impossible arrangement with assistance from a glue gun. Elsewhere, small, white geometric shapes are affixed to the walls and appear to have been cut directly out of the walls' surfaces - another impossibility, once you consider the shapes and materials.

"I started building these models out of mat board, and they evolved," Neal said. "Very geometric, rudimentary shapes are one of the best ways to show recollection. The possibilities of these shapes are infinite."

Stone, a printmaker, uses white ink, archival paper the color of paper grocery bags and some basic visual trickery to get the viewer's mind in gear.

In "Experiment in Visual Perception," for example, the illusion of three dimensions emerges from a flat surface through an arrangement of straight lines and widening circles. In other works, he simulates depth with a shift in angle, creates the appearance of a color shift with a couple of folds, and offers triangles that beg viewers to complete them by visualizing them as pyramids.

Stone shares his tricks in "(Re)Constructed Space" by placing on his page both a multidimensional-looking cube form and its deconstructed parts.

As Stone explained "I always liked the idea of a really simple creation of space. How can I break [a space] down to the least amount of structure? We've all seen cubes. We know what they look like. It's just using that old information to make space. The viewer becomes integral to the work, completing it."

He compared the ultimate result to his printmaking process. "Every edition is different."