Though much of the two-dimensional work takes a documentary approach, draftsman Michael McKee abandons a palette of faithful reproduction, rendering his Citylights series with an expressive assault of staccato strokes like a flurry of electric confetti. Saturated with color, McKee's work manages to capture the velocity and frenzied pace of metropolitan life.

  Jeffrey Kenney's work is the nexus at which subtractive and additive modes of artmaking meet.Kenney's process, a synthesis of both two and three-dimensions, includes sculpture both found and fabricated in combination with photography. While the perspective of his fellow image-makers is outward looking, marveling at the technical triumph of tall buildings, Kenney's work is more insular. He creates dioramas, microcosms which reflect but do not pictorially replicate life outside his studio.

  Though Kenney's work is whimsical, using clever visual language to find humor in the human scourges of weather and war, there is an underlying subtext of paranoia for modernity, for the city which Kenney eschews in favor of his miniatures. In Hive and Swarm, an angry flock of aircraft stands in for a swarm of wasps, a plume of smoke is visible on the horizon. In Tethered House, a foreboding cloud cover seems intent on defying gravity, pulling up a Christo-wrapped home whose occupants took the HHS duct tape and plastic sheeting advice to heart.

  Though each urban perspective is distinct, the artists find common ground: None chose to depict the denizens of these spaces; the human element is supplanted by its brick and mortar progeny. Between Kenney'swarplanesand Rongstad's empty city, one wonders in the face of modernity whether the human legacy will be monoliths of industry or the humor at its folly.

  “Urban Perspectives” is on display through June 28 at Katie Gingrass Gallery, 241 North Broadway.