Three thin, suspended spirals in blue pink and yellow cast shadows on a white surface.

Mary Curtis Ratcliff: Casting Shadows

Mary Curtis Ratcliff’s latest show of new works, Casting Shadows is comprised of kinetic and wall-mounted sculptures and features the circular form, a major element of Ratcliff’s work since the early 1970s.

Thin strings of dark blue and black found fabric is tied together in a grid of 4x5 squares.

Kathleen King: An Event in the Form of Questions

Kathleen King’s recent assemblage and sculpture is comprised of materials gathered from city streets and the waste stream. An Event in the Form of Questions grids and structures evoke the given order from high-rises to prisons. This work challenges viewers to look at abandonment and lack as both material and spiritual conditions, as well as to think about satisfaction, which is linked to consumption and our global climate catastrophe. What do we need?

A crowd of migrant workers depicted in soft warm tones of watercolor, walk and gather against a forested background above a running river.

Jill McLennan: Migration Altered

Jill McLennan’s work moves from local to global focus as she documents the movement of humans and animals around the planet in Migration Altered. McLennan’s paintings address the human impact on the earth through time, traveling back to a place inhabited by indigenous people and looking forward to damaged wetlands being reclaimed by birds.

On a concrete floor: Steel wine barrel hoops are placed above a panel split into four quadrants. The quadrants are painted with abstract black and grey spirals, orange lines, and geometric gold and grey elements.

Charlie Milgrim: Plane Shapes

While rigor and reason shore up Euclid’s logical system of plane geometry, Charlie Milgrim takes a more intuitive approach and renders her own geometric system of the three basic planes—the circle, square, and triangle. In Plane Shapes she creates an association of non-objective paintings and objects in which concentric and eccentric circles—one ordered, one disordered— collide with the linear edges and sharp corners of squares and triangles.

A crackling, wirey sculpture of light hums in light blue hues.

Andrea Brewster: The Fragile Balance That Lies Beneath

Her sculptural pieces are deliberately ambiguous, a fantastical synthesis of biological imagery that ask the viewer to question whether the form is animal, botanical, or cellular; subtly shifting focus between a sense of familiarity and the otherworldly.