Similarly minimalistic and repetitious, the subjects of Gould's "Topologies" series might serve as 2D cousins to the reticulate forms of "Stratus." These large, relatively simple pencil drawings are Gould's studies on the Hairy Ball Theorem, a geometric principle stating the impossibility of combing flat the hair on a sphere (there will always be either a cowlick and a void or two vortices at the poles). The rule does not apply, however, on the torus, which among other shapes Gould renders here in finely etched follicles and multiple spatial iterations.

Gould's finest work is the "Parallax" series, six framed paper pieces in which the artist has made clusters of perforations (enacted from the non-visible side) and connected the holes with graphite marks. Like a form of shadowplay, planes of gold leaf are applied around the perforations; the effect is both restrained and gorgeous. The detail of "Parallax" demands close inspection, and Gould's pun on the term's definition of irreconcilable light is brilliant. The series's rich, almost bacterial detail gives it the effect of being teeming with life, a fitting way to end an exhibition that began, let's not forget, with the systematic execution of flowers.

Nicholas Schroeder can be reached at nschroeder@phx.com.

"TROPOS" | works by Alisha Gould + Sean O'Brien | Through June 17 | Corey Daniels Gallery, 2208 Post Rd, Wells | 207.646.5301 | coreydanielsgallery.com

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