Listing some of the elements Attila Szücs has employed in his work (Christmas lights, jewelry boxes, old postcards, Polaroids, rose petals, sugar cubes) puts one well on the way to sketching out a sensibility that takes the outside world into account while revealing itself in minutiae primarily culled from that ever-suspect category of the sentimental, a category that Szücs would unashamedly place on the heels of the sublime. Szücs’ repertoire of images is so potentially vast that it never overwhelms the quality of restraint in his work; rather, it suggests a considered and personal logic, albeit