Grounded only by a carefully calibrated internal weight, Sedrick Chisom’s subjects float in washed, acidic environments where a lack of identifying information suggests complex internalities. As the viewer moves to orient him or herself before Chisom’s structurally ambiguous stages, figures prove sympathetic and indispensable. As if overwhelmed, understandably, by deluges of dripping pigment, the figures demand sympathy from the viewer while declaring the sort of agency that can only come from the brink of annihilation. Taking color to a dramatic extreme, Chisom’s unstretched paintings channel notions of race and associated anxieties through sublime confrontation.