Fabricated from a long and varied list of materials, LeDray’s sculptures-whether presented individually or collectively in parts-challenge notions of scale. These works, however, offer little or no indication of the complex processes by which they were created. The media for one work alone include: acrylic paint, Alumalite, brass, embroidery floss, epoxy resin, glitter, various fabrics, oil-based enamel paint, gold-plate, rhodium-plate, and patina, paper, pearlescent paint, plastic, sawdust, SO Strong coloring, steel, string, thread and wood. When the extensive labors undertaken in the making of each sculpture are understood, the works take on an astonishing quality in their opposition of the familiar and the irrational.

According to Holland Cotter, “Mr. LeDray’s sculptures feel dense with compressed energy and, perhaps for that reason, seem to command monumental stretches of surrounding space.” “Village People” (2003-2006), the fourth installment in an ongoing project, presents a procession of 21 storied hats-from a F.U.B.U. cap to a Wisconsin Cheesehead-which hover on the wall approximately 9 feet off the floor. While maintaining fidelity to each element’s real world counterpart, LeDray’s process of condensing information also renders these objects unfamiliar.

“Party Bed,” which takes as its form a bed, decked out in striped sheets and floral bedding, is piled high with an accumulation of assorted coats and accessories. This seemingly literal presentation of coats left by party guests is charged by an ambiguity of meaning and an intense physical process. This impressive group of new works further emphasizes Ken Johnson’s statement that “LeDray is one of those rare artists who bring to art-making no ideological program but only an acutely personal way with materials and a fabulously unpredictable imagination.”