Contributed by Michael Brennan / Many conceptualists, favoring the unconstrained and expansive, balk at the representation or framing of any experience as image. Long after he abandoned painting, the late installation artist Robert Irwin likened it to a mere “keyhole” of perception. In Zen and the Art of Motorcycle Maintenance, Robert Pirsig declared that compartmentalizing experience for viewing made you “a passive observer” for whom “it’s all moving by you boringly in a frame.” Yet surely not every living experience has to be as open-ended as a motorcycle racing across salt flats. While a painting can never capture the full immensity of life, with adequate perception and economy of means – say, Luke Howard’s vision of the sky realized in paper and watercolor – even a diminutive one can provide a meaningful distillation of experience. The paintings of Eleanor Ray, now on display in her third solo show at Nicelle Beauchene Gallery, constitute abundant evidence.