The title of Vince Castagnacci’s “notes from a quarry….” fits his Chelsea River Gallery exhibit to a T. But it may also be one of those instances when the show’s title is a bit too snug.

An Arthur F. Thurnau professor emeritus at the University of Michigan’s School of Art and Design, Castagnacci produces work marked by what his artist’s statement calls a “principle of variational development.” That is to say, the work bears what he calls a “personal geometry” through which he “communicates a strong sense of tectonic values.”

Fair enough. But it’s also interesting to note Castagnacci's River Gallery statement adds, “My interest has never been (a) discrete focus on fleeting enthusiasms but always toward a larger developmental goal. There is a pervasive single theme, however; my personal sense of the northern cape of Massachusetts as the necessary kernel. Each abstract representation may be considered an idiomatic aspect of this wider viewpoint, in essence a variation.”

While artists certainly have the right — and maybe even the responsibility in some instances — to inform the public about the purpose or premise of their work, it also seems “notes from a quarry….” does quite well on its own as a fully developed display of superior gestural and geometric abstract art without any geographic or representative attachment. Too literal an attachment diminishes Castagnacci’s effort.

The notion of a quarry — that is, a place where the extracting of stone or slate takes place — is precisely what Castagnacci has accomplished with this exhibit.

Where a quarry worker uses tools to dig out stone, Castagnacci uses geometry to excavate his composition from its working surface. And where a sculptor works in a three-dimensional medium, Castagnacci is using — yes, the tools of form and color.

When looking at his subtle grades of color—Castagnacci’s charcoal, chalk and gesso on paper “Notes from a Quarry: Series One” comes immediately to mind; one might as well be looking at sculptural form. The dynamic placement of his line and the scrubbed overlay of his chalk with understated touches of gesso make this painting a primer in sculpting abstract art.

And in an exhibition of superlative equals, Castagnacci’s “White Light” just might be the most equal artwork of all. He overlays planes of ash and gesso on the composition’s paper after having girded his irregular rectilinear line with a lively abandon.

Just make no mistake about it: Castagnacci’s most certainly working his quarry in this stunningly handsome masterwork. Wresting color and form, “White Light” — like the rest of the paintings and drawings on display at the River Gallery — needs no more explanation than to illustrate what has been singlehandedly wrought.

“Castagnacci: notes from a quarry...” continues through March 14 at the River Gallery, 120 South Main Street, in Chelsea. Gallery hours are 11 a.m. to 5 p.m. Wednesday-Saturday, and noon to 4 p.m., Sunday. For information, call 734-433-0826.

John Carlos Cantú is a free-lance writer who reviews art for AnnArbor.com.