Flatness and perspective compete at the right spot, projecting sensory cues through mark-making, barnacled forms, and gestural mass. The subjects and themes presented allegorically can range from the landscape and garden to eyeballs and footprints. Color and pattern are dragged, reluctantly, to produce a complexity of space, light, and character. The idiosyncratic approach to art history allows for disparate amalgams, where Beetlejuice’s hair and the background of Goya’s The Third of May can flow right into a sincere study of themes from the past; sometimes a crude or elemental gesture is exposed when these themes are allowed to be translated and connected to us now. Enchanted fogs walked on by fingers, a primitive jester’s crooked gardenlike smile, black icebergs with bricked-up horizons, nature marking an X on an ancient unrecognized culture. Paul Klee might as well have been Jesus crucified by scleroderma.