The sculptural modus operandi of Valérie Blass is hardly an unfamiliar one these days: She makes assemblages out of a wide repertoire of everyday objects and materials; the play of the Montreal-based artist’s perception and invention reveals itself more through the gaps and disjunctions in the construction or, rather, the arrangement of the various parts brought together through some seemingly imponderable conjunction of chance, intuition, and will than through any immediately perceptible formal resolution. However, unlike many other sculptor-bricoleurs, Blass distinguishes herself through her