"Conversations from the Satellites" There is an argument that the qualities attributed to schizophrenia — among them the inability to filter out irrelevant information — may be beneficial for creativity, allowing the individual to see connections others may not notice. J. Todd Allison, drawing inspiration from his father's struggle with that disease, has unleashed a futuristic, scientific and fantastic world at G Gallery. Harnessing the Lure features a serpentine creature; his wood-lined mouth offers up a knitting-hook tongue holding a hanger of seven polka-dotted chrysalis sacs. The background is a hazy, mysterious blue, obscuring hidden objects, flowers, ancient civilizations and faces. They were once great Dancers features a man wrapped in bandages formed of bent and twisted lumber, with the faint hint of pink suggesting a wound or injury. He bears the number 50, a remnant of dance competitions from days past. His dancing partner twirls in a beautifully tiered skirt of pliant lumber, with a stack of glass bell insulators serving as her head. Her semicircle arms of bent wood reach out, ready for the next dance. Darkness descends with Brotherly Love as our heroine appears in a scene with two truncated tree stumps. Floating above are not-so-innocent dartboards, poised like circular saw blades; one can almost smell the sawdust in the air. Equally riveting is Once a Harvester, which reveals a murderous ogre in butcher's apron — all fashioned with Allison's patterned, molded planks. Outer-space images are invoked in The Great Insulator as our intergalactic explorer sports a title belt in one hand, a glass diving bell held high. A rocket ship is poised to take off against a topographical backdrop of black and blue lakes, maps, monsters and creatures. Through January 30. 301 East 11th, 713-869-4770, ggalleryhouston.com. — ST
"Jorge Marin: Wings of the City" This installation at Discovery Green has nine wonderful sculptures by an acclaimed Mexican sculptor; some are powerful, some playful, some enigmatic, but all are filled with a love for and an appreciation of humanity that is breathtaking and admirable. Though they represent a higher order of being — most are winged — they have retained their humanity. Abrazo Monumental (abrazo is Spanish for "embrace") is a pietà-like sculpture of a winged angel holding a dying woman. El Tiempo shows a wounded soldier, his face intact but his head shattered and missing, and his arms severed as well, yet he remains watchful and alert, resolute, courageous, kept alive by his dedication and his need to protect the city. One sculpture is interactive: It's a pair of giant bronze wings with an opening for the visitor to stand in and be photographed wearing the wings. Titled Alas de Mexico, it is playful indeed, and early on a Saturday evening it was very active, with visitors waiting their turn. There are six winged sculptures, and three that are not winged. Split Monumental has a gymnast with a hawk mask, short hair, balancing on his hands on a globe. Equilibrista 90 Monumental shows a masked gymnast supporting himself with his hands on a globe, his legs stretched straight out, in an elegant line. Hombre Universal Monumental shows a man standing on a large open ring of metal, holding onto it at its top, with outstretched arms, an homage to and an echo of Leonardo da Vinci's sketch of the Vitruvian Man, probably the best-known drawing in the history of art. Through February 8. 1500 McKinney, La Branch at Lamar, 713-400-7336, discovery green.com. — JJT