Vicky Wright’s exhibition “Night Shift” was articulated in two distinct parts. The gallery’s compact ground-floor space was devoted to an installation of wall-mounted figurative paper sculptures along with some drawings, titled five parts MACHINE, one of DESIRE (perpetuates a self-replicating monadic structure) (all works 2017), whose composition served in part to draw the viewer toward the stairwell leading to the more extensive basement level, which housed seven paintings. The ground-floor installation featured a pair of abstracted, comically elongated figures, apparently male, constructed out of sections of sewing patterns held together with brass pinssoft reliefs: not so much clothes make the man as making clothes makes the man. One was three-legged and headless, and held up an unrolled sheet of paper to which it gestured with a pointer: a scene of instruction. The other,
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