"Richard Rezac: Constructed with a Skewed View" by David Pagel

The idea of perfection comes with so much baggage that most artists avoid it like the plague. Chicago-based sculptor Richard Rezac can’t be counted among such reasonable people.

At Marc Foxx, three modestly sized wall sculptures by Rezac are so wondrously wacky in their efficiently engineered eccentricity that they make precision and goofiness seem to be a match made in heaven — just the right mix of impossible-to-improve-upon resolution and out-of-left-field nuttiness.

Rezac’s sculptures slip, promiscuously and provocatively, between and among the categories into which we usually put objects. As works of art, they function as sculptural reliefs, geometric paintings and abstract drawings. As components of architecture, they put you in mind of scaled-down models and life-size ornamentation. As pieces of domestic hardware, they occupy the same space as doorknobs and drawer pulls, but they make the space around them seem to expand, as if there were more room in the world because they are in it.

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