Unrehearsed opens on First Friday, October 2, with a reception from 5 to 8 PM, and runs through November 5. Two artists and one shared refusal: neither of them begins with a drawing.

Charissa Brock is our invited artist, and the first thing to know about her sculpture is where it starts. She harvests bamboo, splits it by hand into strips, then heats, bends and sews them — with waxed linen thread — into forms that read as tools, shells and star charts before they read as sculpture. She has been refining that way of working for twenty-eight years. Her own sentence about it is the best guide to the room: “There is a line that is walked between what a viewer sees, what they think they see, and what they actually see.”

The largest pieces make the point at the scale of a wall. Journey of the Moon runs five feet across in long curved canes, some dark and some pale, sweeping left to right around a small crescent of glass beads. Da Capo, four feet tall and nearly as wide, is built from Phyllostachys nigra, black bamboo, and its title is a musical instruction: go back to the beginning. Wing and Feather stands free, five feet tall on a post set into layered bamboo plywood.

The smaller works show how the method is thought through. Spira Fiore comes, in her words, from “a tying system I created which draws inspiration from seashells.” Web of Stars, fourteen inches high, began with a poem she read as a child, “Wynken, Blynken, and Nod” — the idea of sailing a boat through the sky among the stars. You can see the boat. You can also see that it is made of the same split cane as everything else, which is the line her sentence describes.

Parvin works the same way on the other side of the room. Raised in the hillsides of Iran and along the Caspian coast, she paints straight onto the canvas with no study underneath, laying colour down and answering it until the painting settles. The paintings here range from fourteen-by-eleven-inch blooms to The Viking, four feet high and the largest and most violent of them. Between them sit the landscapes: Stockfarm #2, a pale gold hillside under a violet ridge with no building anywhere in it despite the title; Dawn, a dark headland over deep blue water with salmon light breaking above it; and The Heron Knows Patience Pays, a great blue heron at the edge of a still pond at dusk.

Hung together, the two make a room where decisions are visible. In Brock's work you can follow each bend of the cane to the thread that holds it; in Parvin's you can see where a colour was answered by the next one. Neither hides the making, and neither planned the finished thing in advance.

Charissa Brock will be in the gallery for the opening. JG Art Gallery + Events, 176 Winslow Way E, Bainbridge Island.