microbiological cell structures or perhaps molecular models.  But the there is the line created when the alternating blacks and reds of each circle touch the one next to it.  While the imagery suggests aspects of bio chemistry it just as well captures a highly abstracted notion of rhythmic living energy. But in either case the strict orderly placement of the forms is countered with an exquisite lyricism offered by the indirect presence of that dancing line.

Morgan Croney, Untitled (unit plane series), 2006, wood, gesso, ink, each: 15.25 x 27.25 x 11in

The remaining five artists bring other issues to the table. Like Francis, Rockburne’s painting taps into a sense of balance along with referencing an other-worldly meeting place for metaphysics and science.  But here the symmetry is addressed with a couple of central vertical forms and so the absolute orderly symmetry of the piece is challenged.  The two Morgan Croney pieces combine geometry, concept and design.  This is well and good; but also notice how the 3 dimensionality of the work brings in the more ephemeral aspects of light especially as seen in the play of shadows.  Patrick Armstrong’s two pieces are, on one hand the most reductive in the show  until you get a closer look.  Each is composed of sheets of paper with

many layers of epoxy and gesso which gently warps the paper.  This latter aspect is crucial for creating a sublime tension between the purity of the objects and the subtle interruptions to their pristine surfaces.

Dorthea Rockburne, Gravity Wave (Direction Painting #2), 1993, Lascaux aquacryl, berol artstic and flashe on gessoed wood panel, 42 x 44 in

Patrick Armstrong, Virgo and Libra, 2007, epoxy and gesso on paper, 42 x 44 in