Her use of clay, starting around 2006, was followed in turn by wood, steel, and much more. Increasingly over the years, Shechet’s work has presented opposing injunctions—on the one hand, to be alert to the smallest details of color and texture, weight and shape, line and form, each element chosen with consummate precision, and on the other to relish the unruliness of seemingly contrary elements and precarious stances.   

Hers are sculptures that have long since refused to sit still. Tipping back and forth between safely joyful disorder and what looks like imminent peril, they keep viewers off balance, too.