“Be All You Can’t Be,” Michael Combs’s first solo exhibition in New York, featured a white elephant in the middle of the room. Standing atop a delicate, hand-carved pillow, the creature (cast from a rubber toy, then enhanced to resemble a charging bull), is small in size but symbolically huge. Minds That Matter (2011) represents the psychological behemoths that lurk beneath Combs’s constantly evolving theme of macho male sexuality. It also serves as a platform for this rising star’s beginnings as a direct carver in wood and a launch pad for where he’s headed as a conceptual multimedia artist. …see the entire review in the print version of May’s Sculpture magazine.