Unlike some sculptors working with components from wrecked automobiles and machinery, Grow is concerned with modulations and movement of form that are essentially handsome. He does more forming and fitting of parts and leaves less to accidental juxtapositions than most men associated with the term “junk sculpture.” Many works in this show are concerned with flight forms; the large July Flyer is a poised “gesture” that exploits the different condition of the metal, momentum being achieved by an interplay between crumple and sweep. The sense of flow is reinforced by a sensuous surface patina of paint and dark metal that invites the touch. Grow’s attention to craft and domination of material is so purposeful that the surprise element of junk, that mocking hint of subject matter, is not a major part of his statement. These are abstract works, and, it would seem, could be executed from raw material more logically than with found material. No matter what its origins, Grow’s work has a strong monumental quality. His forms are bold in character and they move decisively in space. This bigness shows to advantage out-of-doors in strong natural light, and the work would seem most suitable for a garden or architectural setting.

—Doug McClellan