Body remnants, and other impressions considers the degree to which a person’s creation exists as an extension of its creator, and in doing so raises questions about the naturalness of an object, structure, or artwork. If (manmade) structures exist as synthetic, are they still considered as extensions of their creator? If we do consider them pieces of ourselves, then mustn’t they too fit within the sphere of what we call natural? Perhaps the most plainclothes example of this disjuncture lies in Bennet Schlesinger’s Ocean equilibrium and Forest equilibrium. The works, ceramic ears covered in earthly-colored glaze, draw a direct line from body to earth. The ears seem to physically emerge from the landscapes referenced within each title. Katie Sinnott’s two wood panel pieces emerge from the gallery walls quietly. Their subtle agedness and off-white tones evoke a piece of driftwood found at the beach, half covered in sand. In her third work, Light/wave, an image of a beach is literally present. Elsewhere, Pauline Shaw’s small boxed work considers the artificiality of electrical networks. Within a wooden box sit several small glass forms. The glass’ electric charge creates a dull light source that gently illuminates the innards of the box. The natural glass material maintains the charge but not without Shaw’s initial activation. Jack C. Baker’s Framework consists of five interconnected ladder, their rungs alternating between the standard wooden rod and resin forms that encase everyday detritus like tortilla chips and cassette tapes. Each time the work is installed it takes on a slightly different form. Here, the ladders are arranged upright and form a pentagon that nearly graces the ceiling. Suspended from that ceiling and through the core of the sculpture is a chain holding a spiky aluminum shell. Alice Jacobs creates immersive installations and then performs within them. For this exhibition she has cordoned off a small portion of the gallery with two large windows. The walls inside are plastered with images of a past performance, and show her body inextricably linked to a metallic post with a chain that wraps around the both of them. For the opening, Jacobs will perform inside the room, steaming the glass panes with a wallpaper steamer.