Following Shelby Wilcox's show "Shadow Paintings," Heather Nunez's "Pink Nudes, with and without Food" wraps up the aesthetic conversation the two artists have had since their joint show, "Attaining womanliness."

"Pink Nudes, with and without Food" seems to be a delicious last word. In the trio of shows a new version of the figure has emerged, one of slick, descriptive line bathed in washes of color. In Nunez's recent series, that color is pink. "Pink Nudes, with and without Food" is appropriate for our modern decadent taste and Nunez knows how to comment on today.

            This series is not whole in itself but more of a running dialogue with several past works. Nunez has been dedicated in exploring the ideas of "body" and "reflection on self-image" for the past couple of years. As seen in some pieces from "Attaining Womanliness," the form of body is scrutinized, analyzed and put under a microscope.  Fractions of the body become isolated and enlarged enough to read as an abstract painting. The clarity of understanding beauty approaches the viewer, instead of turning the viewer into the critical crowd passing by. All except that deemed ideal. Nunez allows us to see another side of our bulge, sags and cracks--a lush and fruity side.

 Hips rounded with fat become ripened grapefruits filled with juice. A hunk of ham lays along the body. The statement is unclear but the ham could be stylistically confused with the thigh. In many of the pieces, the food closely resembles the figure. The visual reverence is enough to have someone watch what they eat. Creating a moral dilemma: providing the food that was offered and the message gained.

The canola and cheeses put out weren't as decadent as the paint surface. Washes of pinks were layered along side bits of olive greens and black looking umbers. The paint surface reached a full volume of color through the covered mistakes Nunez made. Nunez worked sketches from models (mostly family) into paint studies in oil. Then, finally, she worked on the large canvas that filled the gallery walls. Certain areas were meant to be read more abstractly, testing the viewer's interpretation of the figure into a real aesthetic experience. In the studio Nunez had bowls upon bowls filled with countless number of pinks. Why pink?

She responded, "It worked perfectly."

The artist was teamed with her family during the reception. One of her kids, Margo, will soon pick up the trade. Heather had mentioned that every time she wanted to paint at home her daughter Margo would grab her brushes. Judging by them and the layout of food at the reception, cheeses, wines and canapés, I would argue that this family has the sensitivity for a fully-enriching life.