Lindsay Burke casts the body as both subject and receptacle, a place of emotional, formal, and civil flux. Sites of art historical and compositional tension appear ripe for reconsideration, with the artist embracing the questions and hang-ups that continue to define her subject, both high and low: is the human body a perfect expression of nature? What does my lower intestine look like? Bearing structural allusions to renaissance religious painting, Bauhaus industrial design, and architectural drawing, Burke’s varied inquiries into shared and singular personhood cycle through fugitive states of being. Poeticized, schematized, and on full frontal display, the artist’s bodies greet the viewer like patients on an operating theater’s slab. ___ In considering the permutability of observable and recordable form, Kylie White’s watercolors concretize the lush and angular landscape of Scotland’s Isle of Skye, ultimately revealing it as a collection of sculptural source signals in a constantly developing geology. Absolute in their mass and severity, the geological features of Skye, as presented by White, become meditations on time and the essential translatability of sculpture: for something to exist in three dimensions, it must be legible in two. Formed by millennia of volcanic and sedimentary deposits, glaciation, and frequent landslides, the landscape is sculpted. Executed in thin washes of color plainly applied, White’s observations are tender in their frankness. There are no frills, nor unnecessary information; like her sculpture, White’s watercolor practice achieves density through economy, efficiency, and clarity.