The current exhibit from MFA candidates at CCAD, "Tell All the Truth. But Tell It Slant," features 16 artists and showcases the diverse approaches in the program. The exhibit has a strong installation component, but there are also photography, fashion, design, video and mixed-media pieces.

The current exhibit from MFA candidates at CCAD, “Tell All the Truth. But Tell It Slant,” features 16 artists and showcases the diverse approaches in the program. The exhibit has a strong installation component, but there are also photography, fashion, design, video and mixed-media pieces.

Each of the rooms inside the Canzani Center Gallery teems with energy, and that energy is vastly different depending on the work presented. Some rooms are defined by installations asking for contemplation while others feature light and/or video components conveying a more ethereal setting.

Surely part of the reason the exhibit, which opened April 3, has such varied ideas and presentations are the backgrounds of the participating artists, who hail from Asia, Columbus and the Midwest, Canada and the United Kingdom.

A prime example of the exhibit’s multicultural component is Jill Raymundo, whose multi-piece installation is the first work visitors will see. She created an architectural model of the home she grew up in in Manila (using polystyrene foam), a Balikbayan box — which translates to “a person who returns home” in Filipino — engraved with images of that home’s interior, and a massive print of a photograph of one of her ancestor’s paintings.

In the next room over, Rachel Layne Rush’s layered self-portraits demand the viewer’s attention and feel almost like the antithesis of Amy Lewis’ floor installations that share the space. Rush’s portraits (and vanity video component) are bizarre and powerful, while Lewis’ quietly mischievous metal box installation and mini screens with stop-motion animation feel almost hidden (and some actually are).

Another work that will immediately capture viewers’ attention is Jovanni Luna’s ceiling-high installation. The pieces contains hundreds — thousands? — of rolled paint strips resting on tiny shelves. Even though the piece is about the laborious process of creating such a massive number of pieces and meticulously organizing them, the aesthetic is breathtaking.

Also make sure to wander into the video/animation/light installation rooms. It’s an immersive experience that, despite each piece’s restrained presentation, immediately pulls the viewer in. Erek Nass’ work using projected light and water is quietly discomforting.

Jesse Tigges photo