Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20yield results that are anything but rational. The works do not provide an apparent rationale for the viewer to derive meaning from the purported subjects, nor do they suggest that his inquiries could possibly lead to any useful conclusions. The finished works are as spontaneously unmoored as Eva Hesse’s latex-coated ropes, as paradoxical as Robert Smithson’s pseudo-science rocks and mirrors, as obdurately willful as Philip Guston’s paintings and as subjectively felt as Joan Mitchell’s translations of landscape into abstraction. Each of these artists is a distinctly different seminal influence on Soriano’s approach to creating visual manifestations of internal states of perception. Peter Soriano is a sculptor who no longer makes concrete objects, but already present in his early work was an affinity for the gap between a proposal of functional purpose and aesthetic resolution. His signature cast resin sculptures of the 1990s might resemble a sled, a bumper car, a cartoon sphinx or a mechanical part. They were colorful, ebullient, pop-inflected confections that gave way a decade ago to elusive exhumations of memory of inhabited spaces through irregular plywood box shapes and installations involving aluminum tubes, cables and turnbuckles anchored to walls and articulated with spray-painted dots, dashes and arrows. In the end, he decided that the physical components were getting in the way of his quest for metaphorical content and let go of the last vestiges of conventional sculpture in his work. He has set his sights on a liminal terrain in which his complicated, abstruse and challenging work might find harbor in a space between thought and feeling. Jill Weinberg Adams August 2016