Scott Grodesky’s systematic, morosely ironic paintings investigate both the space of dystopian production and the production of dystopian space. In these rigorously nongestural compositions, each an idiosyncratic blend of figuration and abstraction, Grodesky replaces Renaissance-derived, one-point perspective with an unsettling anti- or reverse perspective. Consequently, objects seem to twist and bend, while unmoored automatonlike figures drift in the air, falling or floating up as if recoiling from a remote underwater explosion. Grodesky outlines his figures in graphite, filling them in with