Jeremy Kidd's newest body of work, aptly titled "Aberrant Excursions," is an amalgam of complicated ideas and ingenious constructions. Kidd is a master of the incendiary gesture turned on its ear, and each of the pieces in this show attests to the artist's interest in the marriage of forms and concepts.

Kidd's work -- which can also be seen on his website, http://jeremykidd.com -- pivots on the odd and vaguely humorous gesture. In the work Tunnel Noids, a limited-edition digital print, we find ourselves inside a green tunnel, the red glare of a car's tail lights lingering like a blood path, while from above, as though attached to the walls of the tunnel, hang strange nipple-like formations. The image is startling, yet it makes some strange sense. While the work utilizes computer generated effects, Kidd's images transcend their own mechanization to become fantastical mergings of concept and color.

The most ambitious works in the show are Kidd's installations, which combine photographs, biomorphic plastic sculptures and other objects. In Oil n' Water, Kidd once again plays with humor and oddness. The piece is comprised of a large nickel-plated amorphous shape positioned slightly off center of a pigment print of the side of a building. The image, assembled from hundreds a small colored squares, produces a mosaic effect, while also capturing the strange undulations of light at play on the metal sidings.

In Untitled (Windmill Installation), Kidd gives us another pigment print. A regiment of windmills, tall and narrow, reach to the sky in soldierly distinction. To the left, one of the windmills has taken literal shape in real space, as if it broke free from the pictorial lineup. Again, Kidd plays with the literal and figurative image, transforming it in space and time.