An exhibition of life-size figures by sculptor Bruce Gagnier, now in its final days, presents standing male and female nudes that seem to hover between gestures. The artist forgoes Classical contrapposto stances and serpentine lines in favor of off-kilter poses, as if his figures are in the midst of adjusting their postures, a device that animates these works.

Gagnier takes anatomical liberties, modeling lumpy figures to convey sagging flesh and physical strain. The plaster and bronze sculptures here possess a grace that belies their ungainly appearance. The attentive viewer will find carefully calibrated interior rhythms of bumps and hollows.

“Odille,” 2014, engages the viewer from all sides with twists and shifts. Pigeon toed, knees bent, shoulders turned, the sculpture seems at once balanced and unsteady.

“Yrsa,” 2014, is positioned with her back facing the center of the gallery. A deep groove follows the line of the spine, created by the figure’s lowered shoulders and arms rolled behind her torso. The gesture of the sculpture along with the expression of the face discloses a unique character with psychological intensity.

“Paulette,” 2015, is smaller than the other sculptures. Back arched, the pose here is full of potential motion. Caught in the midst of movement, about to spring up, the sculpture conveys the beauty of the human form.

Bruce Gagnier: Corpus, on view through July 3, 2015, Lori Bookstein Fine Art, 138 Tenth Avenue, New York, NY, 212-750-0949, www.loribooksteinfineart.com

More information about Simon Carr’s work can be found at www.simoncarrstudio.com