Sonja Thomsen looks at balance in the last five years of her practice. In Proofs, Tangents, Echoes, she leans, stacks, balances, and suspends image and open. Nothing sits flush. A coil of steel with thin plexi stands on the floor and casts a shadow sharper than its own edge. A brass mobile turns slowly on a plinth, its reflection doubling in the polished concrete below. Even the architecture participates in a photograph of a reflective sculpture nestled into the corner of the room, suggesting a refusing to stay on one wall.

The works accumulate in layers: gelatin silver emulsion recording what happens when materials are arranged, photographed, and arranged again; collaged panels where geometric forms meet human ones; backlit box works where a figure cut from one image reveals another inside it. In one work, a smiling Hazel Larsen Archer; photographer, teacher, thinker, emerges from a cutout of Thomsen’s own form dancing at the same site where Hazel once taught. In another, her child’s head holds a small spectrum at its center orange into red, surrounded by a green field cut through with a single blue bar. In another still, a grandmother’s hands, curled by a stroke, rest among objects and images held by other hands.

The large works at the center of the show are Subject to Change, 27 panels recycled from previous murals, their surfaces peeled and reused the way memory peels and reuses. They do not hang flush. Steel balls tucked beneath them disrupt the order, so the panels must lean on one another as the presence of gravity is felt. Thomsen’s brother died suddenly at twenty-seven; the number is not incidental. The recycling here is also temporal, the accumulation of years of iterative work returned to itself and held upright only by its own interrelation.

Proofs, Tangents, Echoes does not resolve. The stacks could tumble. The mobile turns.  The experiments are portraits. The portraits are proofs. A tangent touches the circle at exactly one point and then continues. An echo is the original sound, returned changed. The show asks what it means to hold all of this at once, without resolving it, without choosing.