Anthony Miler's new oil, acrylic and graphite paintings, saturated with rich, powdery color, refuse categorization, evoking an oneiric world featuring wide-eyed creatures, vaguely avian, sometimes marine-like, and always intriguing. The creatures do not fly or swim, but melt into their surroundings, often scattered with reeds, with a dark, formidable moon (or two). Like lyrical cyphers from the future, these paintings, airtight in conception, arresting in their wall power, entice and enchant with their curious warmth.

Derived from the vast holdings of the artist's paternal grandmother's library, Samuel T. Adams's laboriously carved sculptures are, in fact, books transfigured. From the first half of the 20th century, these tomes, mostly British, are essentially outmoded collector’s guides for precious metals and foreign art, which Adams glues together, page by page, creating a solid block which he then whittles with Exacto blades. This act of literary sabotage and artistic rebirth re-invigorates obsolete objects into subtle, cunning investigations of mid-century modern, biomorphic forms, suggesting a host of the signature dimensional artists of the 20th century.

Begun in 2015, the labyrinthine detail in Rome’s colored pencil works required countless hours of intense focus and self-forgetfulness. For years, she focused on developing intricate detail in her colored pencil drawings. Within days of scheduling her recent solo debut with ZieherSmith, Rome received news from a diagnostician that she is autistic. These two seemingly disparate events — an invitation and a diagnosis — helped affirm to the artist the absolute necessity of her artistic practice, which focuses on sinuous, repetitive movements within the works, or “stimming” (self-stimulatory behavior marked by repetitive action or movement). From an artistic point of view, the skeins of deeply saturated color created by her heavy touch on paper and the boulders of lush pigment in the paintings are an amalgamation of broad swaths of mid-century sensibility, summoning Marsden Hartley, Arshile Gorky, Shel Silverstien, and Maria Lasnig. The results beg a range of interpretations -- evoking maps, puzzles, seussian caves, or medical graphing -- joyous and mysterious at once.