Robert Glover's clay sculptures haunt the edges of memory like mysterious sentinels, tokens of ancient ritual. Six new pieces composing his "Fasciatus Series" seem wrapped in silence.
Glover, half of a two-person show, adorns prow-like wedges with designs from sources as varied as Celtic menhirs or Giacometti figures. They focus space with a vengeance. Spare, direct overhead lighting plays up the impression that these flattened tapered forms stand at the center of spatial vortices.
Constructed of fitted sections, the sculptures' textural appeal is enhanced by gouges, scratches and punctures in the the buff-colored clay. Forms recall Celtic standing stones, the symbols graven on them recall the glyphs on Mayan temples. These works resonate with the Jungian concept of archetype.
Glover's sculptures present an overwhelming counterpoint to John Rose's modest sized neo-cubist paintings. While some of these have a pleasing delicacy of composition, they lose visual impact by proximity to Glover's work.