Ursula von Rydingsvard employs a consciously limited range of materials and techniques, working in cedar delivered to her studio in four-by-four-inch lengths. These milled modules are cut, gouged, and laminated together to form large elements that resemble walls, sheer cliffs, vessels, landscapes, simple dwellings, and tools. In spite of great fidelity to material and methodology, the significance of the work extends well beyond the refinements and curiosities of process to its revelatory potential. The arduous assembly and the al- most ungainly size of each sculpture evoke ideas that only emerge