In this exhibition of recent work Ben Godward explores holographic realities, constraint and transparency. The show consists of two bodies of work. On the walls are panels of hand-pigmented urethane resin along with resin tchotchkes on the table in the center of the room.

Adam Brent’s sculptural assemblages combine new technologies and a range of mediums to explore issues of nature, reflection, relationships and structure. In No Rain, No Rainbows, Brent’s signature multi-faceted techniques are exemplified through color infused sculptures in dialogue with themselves while drawing from kitsch culture and decorative style. Comprised of hand-painted 3D objects, found ceramic figurines, and carved wood – this exhibition further explores 3D printing as a powerful sculptural medium, resulting in playfully inventive works.

"Whether painting, sculpting or drawing, Gorzo is wont to leave readily palpable traces of his procedural strata at the surface, and to allow his often extemporaneous approach to initial mark-making to guide his compositions into most unforeseeable spheres comprising abstracted figures and curious creatures, or what might even register as organically inflected, technologically implausible architectures and machinery.

Defined as “sympathetic consciousness of others’ distress together with a desire to alleviate it,” compassion is a complex and dynamic term that incorporates many other notions and circumstances within it; passion for example, is a criteria for compassion. In Western philosophy as well as in religions, passion is considered a primitive and an instinctive state of being that is the basis for deadly sins. Contemporary philosopher Roberto Mangabeira Unger, however, rejects the idea that the passions must be tamed in order to be productive, and suggests that passions are raw responses that can also act in the service of reason.

Based on photographic studies of natural and artificial cloud formations, Gratz’s paintings luminously inhabit the space between abstraction and representation, the absurd and the transcendent, the past and the future.

Garnett’s paintings dwell on scenes that cannot be observed with the naked eye: overlooked edges of unknown landscapes in moments that resemble twilight, the interval between night and day that is paradoxically both and neither. Her source material, found images drawn from surveillance footage and night vision photographs, reveals our contemporary condition of watching and being watched. Her painted landscapes invite a contemplative gaze as they conjure an atmosphere of a world half-asleep but waking and on the cusp of something new.

Buchina’s crusade to unpack his own creative process results in a successful body of work, in which the primary sources are rephrased and reutilized by the artist. The process of making these pieces is central to the storyline of the works. The artist elaborates: “In making them I imagine a lost ritual, emulated over time again and again so that its purpose and logic is lost, and new, random and unrelated elements take over.”

McClure showcases a series of powerful oil paintings on linen in which through simple techniques and materials such as a brush and ink the artist explores the relationship between the hand and eye.

Both artists synthesize complex forms by a cultivated use of traces, gestures, color and treated irregular surfaces in order to address the layers that structure their own identities. The use of journals, maps and characters point to the constitutive and formative elements of their identities that might seem scattered, but that have been reorganized to open a process of recognition.

Wine has used a variety of materials in his investigation and explication of these themes: photographs, charred wood, dirt, tree limbs, and rope - emphasizing their identities and the diversity of connotations we have about them. With a keen interest in temporality and consciousness, Wine is fascinated by the transmutable concepts of cognizance and connotation, and the grey areas and boundaries possible in both. In Memory, Perception, and Other Forms of Misdirection, the artist plays with shifting perspectives and tiered layers of meaning, instilling the viewer with a physical sense of the phenomena of experiences. Wine has fabricated artificial forms of the same substances in order to layer their depicted reality with actual reality, insofar as the latter exists.