Keith Milow’s Sculpture are a remarkable blend of art and architecture with the past and the present.

All of the pieces are wall mounted and look like ruins of a civilization that could be ancient Roman, Aztec or British contemporary.

The large and apparently heavy forms range from discs to less regularly shaped fragments that seem to come from architecture with names engraved or embossed, as if part of a catalogue, history or memorial.

The circular pieces recall Aztec “sun” discs, with names replacing a history told through symbols. The names, on concentric projecting rings, are of visual artists in the 20^th Century.

Milow’s less regularly shaped reliefs seem to be from some edifice that memorialized British painters and sculptors from a number of time periods. Some names are in groups; others, more imperial looking, in pairs.

The groups frequently appear stamped into the rusted metal, and we read their catalogue in reverse, sometimes through additional (distracting) pattern of concave or convex dots.

The pairs present their names enlarged, always in a Roman style that we read easily though the names may wrap around the pieces curved edges.

In each case, the choice of names seems arbitrary, as if the pieces on which they appear are all that remains of a larger context that might make sense of the juxtapositions.

We’re never quite sure what the relationships are but miss them whenever a disc or a fragment is blank. Then we feel judgments were suspended, laurels were not bestowed. And it’s an oddly disquieting feeling, as if we had come into contact with a culture that had produced nothing significant to honor or remember.

A lot of celebrated art today uses words. Few contemporary visual artists use them as evocatively and touchingly as Milow. This is brilliant work.