Caves

This quietly spoken, untitled group show at diminutive city space CAVES punches well above its weight. There are various cryptic themes and conduits at play, with an orderly selection of slightly disorderly works riffing off unlikely material, formal and art historical counterpoints. Olga Bennett’s photographic diptych is something of a standout. In one image, she reproduces a photograph of Carl Andre enacting his famed ode to anti-authorship, Spill (1966); the other sees textural patterns of tiny white fragments on black, which appear the result of dramatically zooming in on an existing image to the point of abstraction. Megan Cousins, meanwhile, fashions decisively simple sculptural arrangements with small slabs of marble and cement, demonstrating just enough flair to give them a sense of intrigue. Alex Pittendrigh’s ragged, woven, soft sculpture, Sharon Goodwin’s hilariously flexible gothic sword sculptures and Nick Ryrie’s optically opulent abstract painting are also of interest, while young artist Jamie Charleston Hall’s hanging sculpture is thrilling in both its material and formal precariousness.

Dan Rule