Shaun Acton has established a language of drawings based on trajectories and coordinates. Mainly overlaid on a monochromatic background, the drawings appear to document possible journeys through space or another dimension. Deriving his compositions from cartography, calculus, and observations of motion in the world around him, Acton’s lines strike a balance between careful plotting and expressionistic gestures.

Brad Hampton’s mechanical/organic paintings present abstracted forms that suggest invented organisms which appear to be human bodies with new configurations. Whether designs for a new object or stills from a video, his digitally conceived abstract paintings seem to propel Yves Klein’s Venus de Milo into an otherworldly place, one that is still full of seduction but also has the possibility of danger.

David Williams paints, dissects and reconfigures modeling kits to create monumental and richly textured relief sculptures that visualize a futuristic Baroque image. The work originated in the pre-invasion gloom of 2002, when Williams sought to create art which reflected a time when fear and prosperity commingled with the promise of technology. The results are hypnotic tableaux that invoke power, industry, and the illusionary art of statecraft.