Maysey Craddock took the title of her show, “Langsam Sea,” from a poem by Anne Michaels, which reads, in part: “In time, night after night, we’ll begin to dream of a langsam sea, waves in slow motion, thickening to sand.” A German term, often used in musical notation to direct the musicians to play slowly, “langsam” also describes the gradual but inexorable pace of change along the Gulf coastline.

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Traditional painting and folk art collide in the work of Memphis-based Tad Lauritzen Wright. Mining popular culture and art history, the artist has developed a practice that balances a childlike style with a challenging conceptual framework. In his latest solo show, “Instructions Included” atDavid Lusk Gallery, Lauritzen Wright uses his eclectic, whimsical approach to tackle our relationship with the natural environment.

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The mystery of the summer in the local art world has been where the new David Lusk Gallery will be. Lusk closed his well-known eponymous gallery in the Laurelwood shopping center on May 30, operating since then in temporary quarters in an old Quonset hut on Flicker Street.

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It’s cool and dim in the old Quonset hut on Flicker Street that serves as the temporary quarters of David Lusk Gallery, or DLG TEMP. Owner David Lusk still declines — or is “refuses” the correct word? — to say where the permanent location will open several months from now, so the element of mystery persists. Speaking personally, I drive around the neighborhood of the Poplar Viaduct, Union and Walnut Grove looking at buildings and wondering if any of them would work.

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Maysey Craddock explores themes of transience, impermanence, and memory in the landscape. Her watercolor and gouache paintings on sewn paper bags reflect the strength and promise that can be found in profound change and loss. Based on her own photographs of shifting landscapes, her paintings are intricate renderings of the intersection of humans and nature, conjuring an atmosphere of absence and reclamation.

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Self-taught, Memphis-based painter Jared Small’s works have an eerie aura to them—of decay and dilapidation, but also of the remembered traces of a greatness-that-once-was.

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On one wall at David Lusk Gallery, accompanying the exhibition “Last Light” by artist Veda Reed, are printed the lines from perhaps Dylan Thomas’ most famous poem: “Do not go gentle into that good night;/Rage, rage against the dying of the light.” Yet spending time at this spare, chaste and elegant display of paintings convinces the viewer that what he sees here isn’t rage but acceptance and serenity. The 11 works, rendered in Reed’s impeccable polished manner and fathomless sense of surface, explore the moment when light leaves the sky at twilight, defining the crepuscular gloaming as the end of day and, implicitly, the end of life.

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