Wilshire Center

Paintings of lengths of fabric are the actors in Los Angeles artist Elisse Pogofsky-Harris’ recent work. The viewer looks down on languidly posed bunchings of patterned and solid-colored textiles partially reflected in leaning mirrors .

Textures are apparently not at issue here; the surface of a rug is scarcely distinguishable from a swath of drapery. A few introduce the gray shadows of unseen window blinds or flowers. Other accouterments (a pearlized bottle, an elaborately carved chair, a coffee table) are given bit parts here and there.

Central to these canvases is the intermingling of color, design, a blatant cosmopolitanism (the fabrics and accessories were evidently crafted around the globe) and the curiously narcissistic mirrored imagery. This is essentially a sophisticated sort of boudoir art, perfumed with tastefulness and an air of aloof self-absorption.

Los Angeles artist Karlin Wong makes wood-and-stone sculpture on nature themes. Results seem like sincere but ponderous attempts to capture elemental truths. Part of the problem is the thickness of the wood, its dutiful polish and the regularized curving contours of its heavily finished areas. Another difficulty is a cuteness that tends to substitute for the surprise of unexpected formal solutions.

In “First Born,” six curving legs support a triangular hut-like affair. Cradled under the undulating wooden roof is a pink translucent egg.

There is also seed and pod imagery, a “wall” in which rocks stand in for knotholes and a “waterfall” with a big white rock stuck in a flowing crevice. It’s all rather like listening to a simple story told very slowly, as if to an uncomprehending child. (April Sgro-Riddle Gallery, 835 N. La Brea Ave., to July 16.)