Slater Bradley’s oval shaped, palladium gilt paintings recently on view in NEVER BET AGAINST ME resembles large eggs, giant plectrums or colossal tears (Max Wigram Gallery, June 9–July 9, 2011). However, fixating on one interpretation of this irregular shape is futile. Pregnant meanings hover, as much as the images appear to visually float. Arranged as triptychs, the canvases alternately sink in the gravitational pull of a low centerline like My Racehorse, 2011,  or swim upward as does Lights Out, 2011, located high above the entrance doorway to the gallery. Idiosyncratic placement transforms the room into a spacey equilibrium tank. Bradley’s paintings also collide Gerhard Richter’s overloaded squeegee with the reductive elegance of Peter Saville’s graphics.