Biotextural Landscapes In four large-scale works, sculptor and University of Alabama instructor Craig Wedderspoon wrests buoyancy out of weighty materials. Employing a technique that owes a debt to his mother, a master quilter, Wedderspoon links together small pieces of square metal to create diaphanous-seeming, fabriclike surfaces that he then shapes into undulating, abstract forms. One such form, Requiem, pays tribute to an earlier work (prophetically titled Fast) that literally took flight during a tornado, traveling from the grounds of a private estate to an intersection several miles away. Inspired by the tornado's revisions, the new work speaks of fragmentation, repeatedly breaking the cohesion of the artist's reliably latticelike biomorphic forms. Pillowed, a ground-based piece composed of square shapes that are themselves fabricated from smaller squares, is covered in the intricate sort of patina that can only accrete through true use and age. Though it's physically massive, the work possesses a visual airiness that defies materiality. The exhibit's greatest departure, Meadow, is made up of dozens of conical pieces of poplar that sprout from the floor to form a prickly landscape. Each piece ends in a sawed-off tip where the point ought to be; under the gallery lights, these small, terminal squares glow oddly luminous, as their bases sink into a shadowy forest of dense wood. Through September 29 at Good Citizen Gallery, 2247 Gravois Avenue; 314-348-4587 or www.goodcitizenstl.com. Hours: noon-5 p.m. Fri.-Sat. and by appointment.