A degree of spontaneity stamps the "CraftForms 2005" national display at the Wayne Art Center.

This 11th edition of the yearly, competitive craft show classic is stunning. Its wake-up call stirs our interest in many new directions.

From a rich harvest of 769 entries, this year's juror, David R. McFadden, chief curator of the Museum of Arts and Design in New York, chose an all-media exhibit of 95 works by 82 artists from 27 states.

Besides awarding three equal prizes, he took the unusual step of purchasing four items on view for his museum and one for himself. That kind of top-down approval, awes participating artists.

"CraftForms 2005" demonstrates a confidence that has allowed this series to continue and again provide strong encouragement for artists making positive statements. While not all those statements follow lines the audience might expect, such explorations vitally stimulate new kinds of inventiveness.

In the long run, traditional craftsmanship can be just as accomplished as the inventive kind if the involvement with materials and techniques has been profound. Both kinds of work are evident here, especially among items the juror singled out.

A prime example is Philadelphia artist Veleta Vancza's inventive pair of wall pieces in copper and vitreous enamel, Target, Re-Formed and Target De-Formed. Some disquieting semi-encoded messages come through this piece, winner of a juror's award and museum purchase. Perhaps more than anything else on view, this work begins to define the style of luxury objects of our new century with its deft, roguish, supple handling.

Other outstanding functional or decorative pieces are by Jamie Adams, Katy Cassell, Tahmi DeSchepper, Carrie Garrott, John L. Jensen (juror's award), Joy Kampia, Stephen Robinson, Kathleen Guss, and Joyce Shutter. Bouncy, with a sparkle and refinement, disguising its seriousness of purpose, this event by any standard is excellent.