Simple geometries host undulating surfaces that in turn give way to intricate assembly in Erin Vincent’s sculptural forms, where volume is perceived as both a projection into space and a quantitative value. In a kind of dimensional mark-making, using ubiquitous, mass-produced materials, Vincent orphans utility as she encrusts a surface to produce an active matrix of like elements in plenitude. Obsessively repetitive gestures yield new textures as continuous fields – straight pins, cable ties, plastic strapping, nylon bristles – producing surfaces that are foreign yet familiar, and beg the proof of touch. (Please resist.)