Sylvie Auvray, who divides her time between Los Angeles and Paris, adds hints of Finish Fetish gloss to what can otherwise be described as raw and rugged, art informel–inspired paintings and sculptures, managing to channel the likes of Jean Fautrier and Kenneth Price at once. Her recent show “Les Cambuses” (The Shacks) featured lowly misshapen ceramic animals, convex graffiti-style paintings on plaster overlaid with resin, and ordinary brooms transformed into mystical scepters thanks to elaborate ceramic handles. The peculiar dichotomy of Auvray’s simultaneously crude and finessed oeuvre is