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“Art is a language,” asserts Martin Nederpelt, one half of Greenpoint’s new Allan Nederpelt Gallery. In conversation on the Gallery’s inaugural show, Mr. Nederpelt shares, “In this way, it is a growing, moving thing.” Together with gallery co-owner Beverly Allan, the genial pair compiles an impressive group of work from 14 artists enigmatically entitled ‘FIT’ (through October 17th).

A converted warehouse situated at the northwestern-most edge of Greenpoint (60 Freeman St.), the gallery’s location and ample size are conducive to its mission to provide a platform for artists to ‘explore and challenge the dialogs of contemporary society’. The space is cavernous yet contemplative, a quality that accents the visually voluble possibilities within the exhibition itself.

The sculptural work in ‘FIT’ takes top billing starting with Juliana Cerqueira Leite’s “Sinew (Object made by forcing both hands and arms into 10 blocks of clay at five different depths)”. A composite of plaster hand impressions, the finished product becomes a milky python, taxidermic and proffered. The serpentine shape indicates detailed fingertips at either extremity, and dissolves into fluid, rippling impressions at its core. This is art that is firing on all cylinders, suggesting biomorphism, sexuality, peristalsis and birth.

“AHN” by Christine Corday is a 300 lb. carbon steel installation that sits low and compact against a corner and the floor. It’s angular form, alternately smooth and imperfect, has a grounding resonance. It optically strums like an electric bass and has considerable gravitational pull.

Also of note are the dreamy, cell animation-like constructions of Kristen Schiele, which both mystify and entrance. Hiroshi Kumagai’s sensually suggestive boudoir scenes are meticulously constructed out of hand-cut vinyl, a puzzle-like effect that matches the sexual ambivalence of the subject matter. And lastly, “I’m Looking at You” by Eung Ho Park, an installation of concentric circles composed entirely of bottle caps, each inset with resin and hand treated to create variations as unique as our own irises.

When pressed further as to the meaning of the shows title, Mr. Nederpelt shares, “Art has to be ‘fit’ enough to leave its maker and take on a life of its own, to be a language unto itself.” Based on the cogent and multi-faceted work assembled by both Allan and Nederpelt, I’d say the art of conversation is alive and well and language, well cared for.