With its emphasis on domesticity and process, one might be tempted to view Richard Slee’s ceramic practice from the perspective of craft. Nothing can be further from the truth. Instead, Slee’s highly finished ceramic objects often find themselves in the company of found objects, get folded into conceptual installations or play a supporting role in performance art. See, who continuously tests the boundaries between functionality and uselessness, routinely makes ceramic objects out of things that cannot possibly related to clay. His on-going “Hammer” series reveals an obsession with DIY objects and humorously explores the futility of a blunt force instrument made from a fragile material. A keen understanding of color and form are the underpinnings in the transformation of the art of the everyday into lively three-dimensional compositions. See’s low-tech, hyper realistic objects play out on an instinctual level and place See’s work conceptually closer into the vicinity of Neo-Pop sculpture albeit without the monumentality and vain gloriousness of a Play-Doh sculpture but with a sly transgressiveness that percolates under the veneer of normalcy. At Hales through February 23.