James Surls’ sculpture has started to dance, float and rotate. His recent show indicates a lighter orientation both in form and in handling of materials. The show included both drawings and sculpture; the drawings are not studies for the sculpture, but offer insight into a fantasy world that is certainly shared by the sculpture.

A drawing like Stick Dance for Red Bird is visually complex, but very revealing. Hard and soft outlines and scale distortions convey a mental, rather than a physical, reality. A large self-portrait of the sculptor reaches out at the left; carving and a female figure-tree

Tom Sayre works in the constructivist tradition. He uses straight-cut steel plate and cylinders welded together, rather than complex visual shapes as in the work of someone like Peter Reginato. Within this straightforward format he is exploring problems of balance and the relation of shape to space. An occasional edge demands attention because of its worked form, as in Good News, the largest piece in his recent show.

The complexity of Sayre’s sculpture is based on weight, counterweight, support and thrust, but in a visual sense; he is not so concerned with actual gravity. Some of the pieces are