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leaves is suggested by a glistening quality of the animal’s back. I felt I needed to rub it with my hands.
A number of other pieces elicited admiration. Ms. Burton’s success in creating feathers for birds from grooves in wood, her gracefully designed low relief bird on “Bird Egg I,'’ her primordial sign, almost a Ying/Yang, in her twin fish “Pisces,” all delighted me. Because much of her work is subtle, it requires careful examination: Probably some people would respond more to other figures that I have not mentioned. There is a lot to look at in the twenty-three pieces in the show.
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