In his delicately rendered sculptures, Michael Sherrill seeks to elicit a sense of wonder from viewers and to make them see things afresh. Working with clay, glass, and metal, his exquisite floral forms have the allure of Martin Johnson Heade’s passionflower and orchid paintings and the botanical engravings of John James Audubon, at the same time they are remarkably new. This retrospective will illustrate the artist’s evolution over his more than 40-year career and highlight his contributions to contemporary art, craft, and design. Primarily a self-taught artist, Sherrill moved from Charlotte, North Carolina, to the western North Carolina mountains in 1974. His early influences came from the North Carolina folk pottery tradition, the community surrounding Penland School of Crafts, and the Southern Highland Handicraft Guild. Sherrill began his career by making functional clay vessels in the 1970s and 1980s, but his desire for continued growth led him to create altered vessels of more abstracted form in the 1990s. Ultimately he shifted his focus to multimedia sculptures inspired by nature, as seen in “Temple of the Cool Beauty (Yucca).” He explores the beauty in natural growth and decay with bright colors, often through painstaking technical processes.