"Photographic reproductions cannot begin to capture the awesome effect of Will Clift's fragile, willowy sculptures. The 25-year-old artist constructs his works from long, lean strips of wood, each tapered end connected to another through chiseled slits. In most of the pieces in the show, he refrained from using glue, nails, or screws. The sculptures that extended horizontally more than four feet into space were each set on a sliver of walnut, wenge (an African hardwood), or mahogany.

"While the feat of balancing, which Clift accomplishes without the aid of engineering tools, is the most astonishing aspect of the work, it is not its defining feature. Rather, the forms are distinguished most by their grace and animation, much like drawings or minimalist paintings with a few elegant sweeps of paint. With a single line he can convey movement and tension.

"Many of the works here suggested landscapes, the human body, and other natural forms, though the references were likely unintentional. Four pieces, with two reaching up (2003), composed of four undulating, startlingly thin slats of wood, evokes the torso of a woman. The gestural Three pieces, reaching (2000) could be a calligraphic Asian symbol for the ocean.

"Like his father, the eminent photographer Bill Clift, Will Clift is self-taught. His work seems to evolve unconsciously, and he is able to gauge the equilibrium of each piece from preliminary drawings. The resulting sculptures are simultaneously powerful and fragile; thrilling, yet entirely serene."

(This review has been reproduced here with the permission of its author, Dottie Indyke)