Situated between painting and sculpture, the works in Proprius traverse the formal language of architectural minimalism, but are overtly bodily in a way that defies strict association with that language. The shapes and textural weight of the work seem to reference the cast concrete forms that skim buildings. At the same time, Cotts’ process—building wooden structures in accordion or hexagonal forms, stretching wet linen taught over the wood, letting it dry, then applying pigment—leaves friction and imperfections that resists the imperviousness of concrete architecture, hinting at a very human physicality. It is difficult to miss the sense of internal structure becoming bone, the way the linen stretches like skin, and the tension of a surface tight with the breaking through of what lies underneath. Cotts allows the linen to rest somewhere between support and containment.