By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
By New Times Staff
By Rich Robinson
By Hannah Sentenac
Rising Beam depicts a series of obelisks rising from a jungle clearing. They shimmer in what looks like the fluorescent green light of a hospital operating room. The architectural elements struggle to morph with the landscape or seem caught in the act of dissolving in the air.
One way in which Arsham connects with the viewer is by adroitly tearing into and tinkering with the gallery walls. He has also niftily freed nature from his drawings, bringing creeping vines into the space with what appear to be marks from a blowtorch or candle smoke.
Wall Erosion (Passage) is reminiscent of the scalloped surfaces of a glacier gashed into a wall, with a peephole left for viewers to peek into an adjacent room. The missing doorknob and mail slot from the revolving Double Door entrance to Arsham's exhibit appear as individual sculptures in the show.
Skirt — a rippled, fissurelike incision in a far wall — looks like a giant mouse hole. The figure of a young man on his knees is being sucked into the building, giving the impression the structure has unexpectedly lurched to life.
On the way out, don't miss Corner Knot, almost imperceptibly tucked away in a corner near the exit. Like most of the other works in the show, Arsham has cunningly created the illusion of a harmonious order between man and nature by pulling opposing gallery walls together and gift-wrapping the contents in a giant jarring bow.