It was a smallish, audibly quiet opening night Thursday as these things go, but the work here almost commanded all jaws to drop softly. When you're compelled to view each trippy sculptural world thisclose you must whisper your reactions -- which are somewhere along the lines of, "Unfreakingbelieveable."
It's why Prusa did not need to raise her voice beyond conversational level to talk about her inspirations (mathematics, popular culture, biology, nature) and technique: hundreds of hours for each piece, layering meticulous drawing and painting using brushes only a few hairs thick or wire.
When asked at the opening why she chose a monochromatic palette she said that she used to express her work in colour when she lived in the Midwest but since moving to Florida found the bright backdrop a little too much, so the silvers, whites, greys and blacks (and pinpoints of LED lighting from within) offered some respite, some equilibrium.
Kind of like what this show offers, in the thick of the sensual assault that is the football industrial complex at its apex.