Windows and walls are aswirl in Lauren Clay’s anachronistic realm of optimism. Upon entering, one has the impression of stepping into a giddy loggia populated by bright meringue entities steeped in candy-colored gradients. Angles, apertures, and thresholds are untethered—feints in a watery world where flatness and fatness are equally buoyant. From floor to ceiling the gallery gets the full treatment, plastered with digitally printed enlargements of Clay’s hand-marbleized collages depicting Neoclassical facades. The chatty liquidity of the marbling process is everywhere, skewing conventions of