Known previously for her widely circulated prints, Vredaparis’ recent promising departure, small sculptures, is seen collectively for the first time. With the accompanying graphic works, we may trace the accidental lyricism of the intaglios translated logically to the natural forms of the sculptures. The pieces, cast and polished bronze concretions, rest supremely on, and are integral with, milled or burnished aluminum bases. Her basic repertoire of shapes consists of irregular oval, rectangular, or tubular masses. These flattened, twisted or folded volumes establish a major axis and incidentally create her favored surface variations, textures and linear seamed creases. They seem solid, substantial and eminently organic—found, then assisted by hand forming—the legacy of Voulkos.

The inherent color of the materials and the high degree of polish, as well as the bases’ elegant patterning convey a chic, European preciousness. Where this note of decadence reinforces Falkenstein’s decorations and Baker’s insidious mechanisms, here the effect is a handsome but perhaps a somewhat inappropriate one of slippery gold-plating. Several, “Maid Marion” and “Poule de Luxe,” relief-like in hugging their plate bases, uncomfortably resemble a Midas’ offal.

The arrangement of multiples in “Act I,” “Act II,” and “Three Pieces Interchangeable” represents a major theme. But except for the fine repeated “Duo,” because of the positive and self-contained character of the shapes, relationships are suggested which exist only a posteriori. Besides “Duo,” “Fortyniner” shows nonetheless that Mrs. Paris is embarked on a fruitful expansion of activities.

—Fidel A. Danieli