In the last two years John Obuck has begun to build the forms he previously painted in the center of his canvases. Maneuvering between painting and sculpture, between real and depicted space, between historical and up-to-the-minute styles, Obuck remains attached to geometric forms and to a crisp, black and white palette. He establishes a complex relationship between the filigreed patterns he paints and the volumetric geometries he builds so that the simple geometric elements are rendered ambiguous, faceted as they are by painted decorations that comment on and undo their structural integrity.