If one were to drop an open chest full of toy building blocks on the moon, the imminent ramifications of gravity could cause a reaction much like that which appears to be occurring within TRUCK's plus fifteen window space. Technicolor Dreambox, a collaborative installation by Nate McLeod and Cassandra Paul, comprises an abundance of colorful three-dimensional shapes, appearing to have erupted from a wooden cube situated in the lower left portion of the gallery.

An invasion of multicolored rectangles, cubes, and triangles, along with pseudo shapes of various sizes enliven the white vitrine as they appear to ascend outwards from the cube; gravitating into empty space in a diagonal trajectory. Although a devised hanging system for the suspended objects is inevitably present, it is not blatantly visible, or easy to detect. Rather, these blocks of color sit transfixed; suspended in open air like the shards of glass in a freeze frame of a vase being struck by a bullet.

Drawing from rectilinear forms and playing off of architectural spaces, both McLeod and Paul are interested in merging the flat and the three dimensional in their respective practices. Paul's use of geometric shapes is derived from her interpretations of junk piles found in rural Alberta, which contain varied debris from old buildings. Utilizing absurd perspective, incomplete depictions of objects, and bursting masses, Paul's work strives to offer new ways of perceiving the banal and unsightly through layering synthetically colored, hardedge geometric forms.

McLeod similarly applies hardedge painting within his intricate installations. Adhering abstract configurations of wooden shapes to the wall, he reinterprets the fluid gradients formed by the cast shadows of these objects, emulating them through crisply painted bands of color. McLeod extends these lines off of the wall, using wood and paper to create a three-dimensional drawing, which resides both on a flat surface, and in the surrounding space.

From several feet away, the entire installation virtually appears as a completely flat, abstract field of shapes. Yet when approached from either side, the dimensionality of the work becomes available as the exaggerated perspective of the forms creates the illusion that the shapes are shooting out of the gallery. Mimicking the floating objects, there are also paintings of three-dimensional shapes painted on the back wall.

Curiously, these paintings also appear to be floating in the space surrounding the other hanging objects, despite the fact that they are flat. This illusion is afforded by the integration of bright discordant colors, which contrast the dominantly pastel-colored shapes. When placed next to each other, the subdued tints and vivid hues vibrate; making some sides of shapes appear to pop forward, and forcing others to recede. This push-pull effect prompts a subtly distorted reading of the shape's positioning in space.