This is his first showing with Elizabeth Harris. He has been a fixture of the New York sculpture scene for three decades. His most recent exhibition was in Virginia , in a pairing with Tara Donovan at the Maier Museum of Art. His works have cultivated an emotional terrain with affinities to European literature. From his emergence, at about the time of Milan Kundera’s debut into the literary world, with The Book of Laughter and Forgetting, Clark has tightened his focus and parallels the later and better-known title, The Unbearable Lightness of Being, in works which play the pun between illumination as physical and intellectual experience and spiritual exaltation.

Clark ’s current work with electroluminescence employs products from the cutting edge of technology to animate gestural forms. The metal bodies of these wall-hung works are white enamel over steel—ironically enough, casings of fluorescent fixtures such as those in his own earlier works, here bent to parallel the manipulations of John Chamberlain’s heroic abstract gesturalism. Now, the forms are outlined and activated by filaments encased in flexible tubing.

The artist’s faith with historical precedence, especially the power of abstraction to convey emotion, is literally highlighted through the use here of a razor-thin blue line made of “El wire”, a product created for computer assembly and other industrial uses. The exhibition title There’s Nothing Blue Under the Sun is not so much a physical reference as a tribute to the elegant sinuosity of the musical line of Miles Davis and generations of jazz. The line wanders over the terrain of each work which approximates the size and density of a human head, hung at eye level.