The two large-scale paintings, Getting to the bottom of it (68” x 56,” oil on canvas, 2022) and Chugging along (68” x 56,” oil on canvas, 2022) are characteristic of Zelter’s approach to the visual plane, namely, to distress, crack, and sometimes fracture it. In Getting to the Bottom of It, Zelter’s further condensed an already prismatic interior space of a room filled with glass shelves and panels hung on walls and jutting from them. The effect is a visual experience that grips one through hues of turquoise and pewtered mauve while forcing a range of questions: what am I looking at? Why haven’t I considered glass’ capacity to warp space before? What can I now understand about sight that I hadn’t before? The answers to these questions continue to unfold long after one encounters the work.
The second painting on the cafe’s walls is Chugging Along. In this scene of a building’s exterior, Zelter has destabilized the hard edges of roofs and walls and doorways to create a sense of seeing underwater. There is an optimal distance to view this painting, and it is just at the edge of the cafe’s order line. From there, one feels the striking sensation of standing before a home returned to after many years away.