David Fought: "3 (5)wires and 5 (3)sides"
James Sansing: "Seeing Darkly"

There's a pleasing little synaptic pop that occurs when you look at David Fought's wire sculptures. Maybe it's because they play with dimensions. The sharp geometric shapes often look as if they should be two-dimensional line drawings, inscribed directly on a white gallery wall, but then you step to one side and their mass becomes apparent. Nothing psychedelic here, just good clean optical illusion, or what Fought calls "inviting the subtle clues of objecthood in these works to come forward." In contrast, James Sansing's work gets below the surface, quite literally. His sculptures look like the roots of buildings: Filaments of tiny, hand-cut bricks weave between cement platforms. Bits of dirt and vegetation cling to the edifice; cement and tendrils drip down. An apocalyptic feeling of post-humanity haunts these ruins, but the sculptures are small enough that they're not overwhelming or ominous. Shown together, Fought and Sansing's work embodies a dichotomy of formalism versus down-and-dirty, on a small but reverberating scale. This juxtaposition contrasts surface and depth, refined and gritty, in neat and surprising ways.