The formal variety and disparity of Douglas MacWithey’s sculptures and drawings reveal his preference for a flux of unresolved meanings. Rife with paradox, MacWithey’s works refuse the finality of narrative resolution. While his metal sculptures, exploring opposites such as open versus closed, are sparsely minimal, his drawings are contrastingly baroque. These works are covered with delicate botanical images, randomly placed strips of clear tape, and cramped, barely legible stream of consciousness writing.

MacWithey’s concern with flux is evinced in individual works. The austere series of bare-bones