Gravity Shifts swept through the long, wide gallery space and filled it with silhouetted forms in black paint and hand-cut mirrored mylar. Each part mesmerized us with its clean precision and narrative detail and moved us with its gestural power and visual accessibility. The riffled distortions of the shiny mylar upended and shattered everything caught in its reflection casting viewers into parts of the installation they couldn’t just then see. Complicated figures spilled across the wall with the fullness of stop action sequences and the simplicity of paper dolls. Among the masterful variations was one of barely separated moments of a figure losing a battle with gravity and her grip on a child. The deft compositional connectedness of the installation made taking it all seem oh so possible. We moved from image to image trying to do just that and failed. As much as we “connected the dots” of content, juxtapositions and reflections, we could sense the whole but never own it. As with the ways of great art, as with the imperturbable laws of nature.