Born in 1966 in New York, Paine is well known for his stainless steel, tree-like sculptures, and a new group of these, collectively titled 'Dendroids', are on display. Exhibited on wooden tables, the small-scale, organic forms appear like museum artifacts, the silver trees bearing indications of neuron structures.

Approach closer and all is not what it seems. 'After the Flood', for instance, has household elements lodged in the branches, recalling how Hurricane Katrina whipped up people's belongings, displacing some of them into trees, in 2005. Indeed, Paine installed a huge sculpture, 'Maelstrom', which resembled a forest destroyed by a storm, on the roof of the Metropolitan Museum of Art in New York in 2009.

Meeting, 2016, birch, maple, epoxy, apoxie, fluorescent lights, acrylic prismatic light diffusers, enamel, lacquer, oil paint, damar varnish, paper, steel and stainless steel, 97 1/2 x 58 1/2 x 130 1/4 inches 
247.7 x 148.6 x 330.8 cm
The foreboding sense of an apocalypse is seen in the installation, 'Desolation Row', composed of charred logs, embers, burnt trees and forest detritus. The devastation brings to mind the bleak scenes described in Cormac McCarthy's novel 'The Road', while the title of the piece makes an analogy to Death Row, likening the fate of the planet to that of the prisoners.

Paine deals with other subjects to do with humanity in his dioramas. Featuring a circular arrangement of office chairs in an empty community centre, 'Meeting' is based on the AA's 12-step programme for recovering alcoholics. However, any communal spirit is dispelled by the glaring fluorescent lights, the closed-in oppressiveness hinting at the anxiety that people might feel discussing their experiences.

Desolation Row, 2016, fiberglass, polyester clear resin, ash, earth, rubber, wax, epoxy, light emitting diodes, oil paint, stainless steel, aluminum and wood, 108 x 163 1/2 x 97 1/2 inches
274.3 x 415.3 x 247.7 cm
In a second diorama, 'experiment', the visitor stands before a hidden surveillance room behind a two-way mirror that faces an empty bedroom with rumpled bedsheets. The absence of people stimulates the imagination in two ways, as if we could have been peering into the bedroom to watch a sex scene or, equally, as if we could have been observed. The fictional scene is based on the CIA's MKUltra experiments in San Francisco where the behaviour of prostitutes and their unsuspecting customers, whose drinks had been spiked with LSD, were recorded from behind a two-way mirror.

Installation view of Roxy Paine: Farewell Transmission, Paul Kasmin Gallery. Photo by: Christopher Stach / Paul Kasmin Gallery
After the Flood, 2017, stainless steel, 41 3/4 x 55 5/8 x 25 1/2 inches, sculpture, 106 x 141.3 x 64.8 cm, 5/8 x 20 x 16 inches, plate, 1.6 x 50.8 x 40.6 cm
Heretic, 2016, stainless steel, 35 1/2 x 22 3/4 x 17 1/8 inches, sculpture, 90.2 x 57.8 x 43.5 cm, 1/2 x 12 x 18 inches, plate, 1.3 x 30.5 x 45.7 cm