Of the landscapes, there is a particularly succinct series depicting formations of sand by Deborah Bice. Her “Falling Sands” shows sand pouring like a delicate waterfall from a pocket of sandstone while “Rhythm of Sand” provides a pleasing contrast, with its huge, semi-abstract dunes. A set of exquisitely delicate silverprints by David Pettit also provide a nice black-and-white grouping within the show.

A third featured series depicts landscapes that “hide in plain sight,” or as Jasper Johns said, “are seen and not looked at.”  A dozen small, untitled photographs by Gene Butera examine the textures and color combinations that might adorn a decrepit wall or battered floor or industrial fence. A former art director for Car and Driver magazine, Butera’s easy handling of composition and color show an experienced hand and trained eye in pieces that, far from being a game of “I Spy,” stand solidly as unique abstracts.

Interspersed within Sight Site are other subjects as well, including some urban landscapes by Frank Huff, and a few unique figures by Nick Adams tucked into the northeast corner.

While the wide variety of work included in Sight Site makes for a difficult review, it does reflect the diversity of the local photographic community, and allows the viewer to wander through “all things counter, original, spare, strange…” as the poem goes, and it’s worth a trip to enjoy St. George’s “dappled” photographic talent.

Sight Site continues at Dixie State University’s Sears Art Museum Gallery through August 18th.