A similar concern for texture and structural delineation occurs in Todd Miner’s paintings. Working in small ragged-edged rectilinear formats, Miner sews and presses ephemeral materials into tightly compressed compositions. Gauze, vinyl and miscellaneous paper scraps are organized by threaded patterns that unify these diverse materials and divide the surface into a system that appears simultaneously free-form and geometric.

Each work has an overall stained color, usually wine or parchment, that refers to the origins of the found material. The artist accentuates the composition with more synthetic

Gregg Renfrow’s paintings project an engaging physicality. Through textured polymer surfaces, layered into geometric forms, they suggest a non-literal landscape that vibrates with a topographic expansiveness. Since the early 1970s Renfrow has worked in acrylic, initially constructing hanging panels predominately in earth tones. His most recent paintings push this material to new extremes, developing an emphatic concreteness that is almost sculptural, and a brilliant palette in which so-called “decorative” hues, particularly pinks and yellows, are handled with expertise.

Renfrow applies acrylic

Aransas, an installation of six-channel video and SX-70 photosets by Frank Gillette, is an approach to landscape grounded in both observational strategy and intuitive process. Using 34 locations in Aransas, a seemingly uninhabited area of Texas comprised of bays, tidal flats, prairies and seashore, the artist randomly selected axis points for videotaping within the region. However, once the axis points were arbitrarily determined, camera angles were defined through strict numerical systems. In selecting the axis point, and then shooting out from that coordinate, the artist placed himself within