Never one to take things lying down, Joan Konkel has long made multilevel paintings, often overlaid with layers of wire mesh that produce shifting patterns and illusory light effects. Much of her recent work is more emphatically three-dimensional, giving it a kinship with the prints of Gail Shaw-Clemons, some of which pirouette gracefully off the wall. Painter Kelly Posey also adds another dimension to her work, although just visually: The depths hidden in her actually flat paintings can be fully perceived only through 3D glasses.

Konkel is known for topping her abstractions with mesh, often folded or crumpled, and sometimes with daubs of paint atop the netting. There are examples of that approach in “Dimensional Dialogue,” her Zenith Gallery show. Also included are entirely sculptural works, whether free-standing or wall-mounted. Where the local artist’s paintings often incorporate metal, her sculptures are sometimes made of pigmented canvas, so they resemble pictures that have been dissected and then reassembled in unexpected configurations. Some of the smaller ones dangle like curls of peel from a fruit that’s been pared in a single continuous motion.

“Totem en Noir” is a tower of stacked, painted-canvas forms, each roughly square but floppy rather than hard-edge. Another standing piece, the blue-and-silver “Crystal Sprout,” is a column draped loosely with sheets of diaphanous metal screening held together by a circular aluminum band near the top; above this clasp, the mesh strands appear to splash outward like jets from a fountain. The result, as in most of the artist’s creations, evokes uncertainty but also possibility. Although they’re made of solid stuff, Konkel’s artworks are hymns to ephemerality and change.