Singularly striking, the plastic sculptures of Mihich Vasa belie what some might consider to be the inherent opacity of a sheet of plastic.  Whereas in most contexts plastic is used to connect and reinforce, with Vasa plastic takes on multiple dimensions, opening us to new windows into what color can be.  As the artist puts it, he is "interested in placing color in open space."  And so he does, hanging color on seemingly nothing, layering a multiplicity of hue and pattern in various polygons of plastic.  The finished product conjures thoughts of dark energy or matter, things we believe are there but which we cannot see, the inchoate and hidden dimensions of space and time.
     I stumbled on Vasa's work almost by accident as my siblings and I were sorting through the contents of my late aunt's residence.  Though we had always admired the cubes, cylinders, and other shapes and colors set on one of her etageres, we rarely had really examined them.  But now we did.  As I look at one of the pieces I kept as a memento of Jeanne, contemplating how the rising sunlight reshapes and realigns its colors, then, later in the day, as I set it in the glowing light of the setting sun, I think about the mystery of creation, human and divine.  I think about the human artist, meditating, creating, and I ponder the divine and its seminal energy of existence.  As Vasa's plastic polygons take us into new images and depths of life's possibilities, so does the artistic impulse, human and divine, unpack for us the greater agency that informs the cosmos with purpose and meaning.
     If color, of any kind, can be suspended in open space, there is always more to see.