Every semester, the Dreitzer Gallery in the Spingold Theater Center showcases the talent of the studio art major's seniors. This semester's show, which opened Wednesday night, was no exception; the gallery was rife with fresh and interesting work in both abstract art, sculpture and oil on canvas paintings. Three prevalent themes appeared amid the art. The most visually stunning oil paintings depicted different natural scenes. "The Sea of the Man I & II," by Jane Lin, featured colorful ocean-scapes, reminiscent of Vincent Van Gogh and other post-impressionist works. Kim Ash took a more realistic approach in her "Down the Rabbit Hole," a scene of lush shrubbery and fungus-gorgeous without focus. Not all of the nature themed work was restricted to conventional painting, however. Ariel Plotkin created an abstract approach to viewing topography with "Mountains and Sky," an intriguing break from the many canvases.

City vistas were another common sight amongst the senior art. Ryan Pressman's "Spudz McKenzie" could have been a Saturday in Cambridge, with a bustling crowd of people outside a Subway shop. "Rue de Promle" (Samantha Laub) and "Memory (hellas)" (Nabantu Manzu) both depicted the sharp angles and perspectives of an urban environment, making the viewer wonder what could be around the next corner. The fantastical "Magic City and the Flying Menace," by Veronica Kabien, was resplendent among the more lifelike scenes around it, with a brilliantly hued city reflected in a body of water along its border.

The most common and most varied theme in the show involved portrayals of human subjects. Laub's "Untitled" depicted a young woman in bold relief, seemingly from the same city as her "Rue de Promle." She had angst, a cigarette and purple slippers as she stared into the street below with powerful eyes. "Resurrection," a masterpiece by Adina Murch, had the familiar tones of a children's book, but showed a hauntingly comatose woman lain out, her limp hand in the foreground, and red hair stark against the shades of calming blue. Finally, "I've got a hunch," by David Oppenheim, was a classic nude, stressing the muscles of a man turned away from the viewer, with shading covering the contours of his body.

The works in the show spanned the scope of human emotion, and demonstrated the diverse talent of the senior artists. The artists emulated several classical styles while ensuring that their own novel thoughts shone through. If these works are any indication, next semester will bring an other amazing set of art to the lonely Dreitzer Gallery.