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After some flirtations with the Viennese school of Fantastic Realism, best represented by Ernst Fuchs, Barsch, we read, “studied Egyptian and Islamic culture and history.” These influences would come to the fore in his later work.

He was baptized a Mormon in 1966, went to BYU to study Fine Art, and stayed there for some forty years. He always uses vivid colors, often structured by two juxtaposed elements: a blurred realism and a lightly sketched geometric design.

His vision is almost sacramental, with one important caveat.

The presence of the transcendent that he describes is not resting in the material realm but in its ideal configuration.

That which is artificial melts away before the manifestation of the absolute.

Lesser being fades, even as it is heightened beyond its limitations under the demands of human artifice.

Yet even in contemplating the absolute, we recognize something like our own reason.

There is an intelligence there, an ideal that is only dimly mirrored in this dark world below.

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Take, for instance, painter and illustrator Michal Luch Onyon, whose colorful and somewhat naive works are sure to delight. Pugh, whose bold and strong brushstrokes evince the confidence of the West.Yet upon further consideration, we find a celestial scene in the blue window – an impossibly delicate set of constellations in a field of bright . This sensation comes, appropriately enough, through the viewer’s discovery of heaven in the painting.There is at once a sense of familiarity and otherness. Likewise, the soul feels a similar sudden reversal upon the discovery that there is a God.In short, Barsch has presented a model of mystical experience. Below, we see is, at first glance, little more than a tropical landscape.We can feel the heat through the stereoscopically blurred palm fronds.

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