In her first solo exhibition, Jacqueline Brown uses drawings, photography, sound, and video to compose a sort of exercise in landscape autobiography. Mining the flora and fauna of the English countryside around Devon, where the young artist spent her childhood, Brown puts her training as a sculptor to spectacular effect in Pine Family I-III, three large pencil drawings depicting wild foliage cut into expressive shapes across blank white paper. On the opposite wall, tiny scattered portraits of coniferous branches go even further towards isolating Brown’s motif; they actually portray expired Christmas trees laying in the streets of Berlin after the last holiday, awaiting their deportation to the garbage dump.

A similar collage technique is tried out in A Long Narrow Territory, only using digital photography rather than pencil. From a distance, we seem to be looking at a long horizontal stain; up close, we are able to make out the details of a green autumnal landscape dotted with farms, hilly expanses, and leafless trees.

Brown’s lyrical prowess moves beyond static imagery in the second part of the exhibition, which focuses on a pack of hunting hounds. A four-minute video, 38 ½ Couple, shows the secret life of these noble beasts as they are held in captivity, anxiously awaiting the next hunt, while an accompanying inkjet print posted on the wall contains the names of each and every one of the dogs structured into seemingly random alphabetized groups, eliciting a peculiar poetry of the proper name.

Refuting both science and polemic, Brown’s new naturalism steers clear of romantic cliché, instead giving us a raw inference of the universe’s elasticity across time, as well as the occasionally bizarre methods that culture has of interfering with its wildness.

The exhibition runs until May 29th. That night, there will be a finissage at the gallery with the artist present.