The second exhibition of the year presents Daniel Jensen and Mark Posey, who were both originally chosen by the jury for 'Contemporary Visions 8', instead exhibiting them together for the first time. Both artists use painting and sculpture to present a tongue-in-cheek commentary on domesticity, materiality, and the banal. Jensen's drawings and paintings are an absurdist re-evaluation of the world around him: socks, leaves, smiley faces, and squiggles are all flattened with a dry, sardonic wit that carries over into his sculptural identity. Cast from cardboard, plastic cups, and whatever detritus lies around his studio, the young Swedish artist elevates such irreverent media into totem-like relics. Choosing to celebrate the banality of his media and subject matter rather than hide behind it, the artist's works inhabit a sort of celebratory low-browness, coming across like a sort of plastic-party-hat revelry turned serious art-practice. The connection to Posey's subject matter is evident: still-lifes of constant slippage, like a collapsed party table in which the contents are in a perennial state of collapse. Posey's choices mimic Jensen's too, where silly materials like bricks, bananas, candles, and cups are painted with the same sort of passing reverence Cezanne or Van Gogh gave to the passing of clouds. Further, these artists seem to poke fun at our constantly moving tendencies, as though a contemporary counterpart to the Dutch still life paintings, and here the rather fluid, appropriately light-hearted attention to detail that one would expect from a modern-day still-life painter. There is a suggestion toward a post-analog life - where elements have been flattened and cheapened, but hereby reinterpreted and propped-back up through the artist's prowess: re-evaluated and cherished, however tangible and silly these modern day apparatuses appear: a flattened beer can salvaged from the frat-party propped up on its side, ready for arrangement within the still-life.