Giles Lyon generates a rich body of work from a fairly straightforward idea. He flings Jackson Pollock–esque loops and skeins of acrylic paint onto a pale, largely monochromatic ground, then folds the wet canvas over to make web like splotches that resemble Rorschach inkblots. Next, using a thin brush, he compulsively outlines every drip and paint trail, merging the crisp rendering of Japanese animation with a spiky, nervous line that recalls the drawings of Dr. Seuss. The result is a biomorphic vortex brimming with subliminal suggestiveness, and Lyon’s outlining relieves viewers of some of the