At the Crane Arts Building, the small exhibition area called the Archive Space is currently displaying collaged glass paintings and silkscreen prints by artist Paul Kerin. Easily the smallest alcove of the Crane Building, the Archive Space is more or less an extension of the hallway, providing a modest showroom that rotates monthly. But just because the location isn’t as robust as, say, the Crane’s massive Icebox that does not mean it should be overlooked.

Paul Kerin, “Turning” and “Head of Giant.”

The show “Veneration” by Paul Kerin is somewhat of a breath of fresh air because of its humble display. Due to its small size (only six works) it is possible to spend a significant amount of time with the art, which is when it becomes evident that there are many more layers here than first meet the eye.

Kerin utilizes a spiritual or mystical visual language, blending religious icons and obscure bits of other more contemporary appropriations, like incomplete snippets of words or phrases. Ultimately, his view is otherworldly and hazy, calling to mind an afterlife or another dimension. He says himself that the collages are supposed to invoke the homesickness some may experience upon reaching the “other side”.

Paul Kerin, “Creation I & II.”

What is particularly notable in all of his works is the color palette. All of the works here display a heavy use of red. Kerin comingles dark areas and shading as well as brief white highlights with swaths of bright cardinal and deep crimson. Red, traditionally the color of passion and war, is a particularly interesting choice for the artist. It reminds us of blood and fire, but also of love and warmth. This choice of hues shows a distinct duality in the spiritual realm – that of fear and awe, but also strength and affection.

Paul Kerin, “LXXXIII (detail).”

A multi-canvas piece by Kerin entitled “LXXXIII” illustrates the poem “The Self-Tormentor” by Charles Baudelaire. One panel even explicitly quotes a stanza from the original work, while the rest explore more nebulous images. They are silkscreened in dichromatic red and silver, making for a sharp contrast and a fairly explicit reference to the quoted lines about knives and wounds.

One thing is positive: this show is as passionate as it is tiny. The incomprehensible forms and figures as well as the intrigues into literature and mystical concepts are potent. Paul Kerin’s “Veneration” is certainly worth a pilgrimage if you’re in the neighborhood, and as always, there is always plenty to see around Crane as well.

The Crane Arts Building is located at 1400 N. American Street, Philadelphia; 215-232-3203 or [email protected]; cranearts.com.