A series of repeated gestures yields intricate surfaces in Erin Vincent’s sculptural work —they are actions specific to her chosen material, whether tissue paper, tongue depressors, pins, or other mass-produced materials easily sourced in a global marketplace. The object ubiquity of the individual elements, which one might expect to be emphasized by the sheer volume employed, is instead overwhelmed by a surge of ‘likeness’ that transforms as an animate continuum, in some measure organic in feel, the result of a kind of reverse-manufacturing.