By far the most metal place in town this month is the Philadelphia Sculpture Gym, but not because of blast beats and chugging guitars. This Knight Arts grantee is showcasing its third process show of talented metal artists whose works are nearly as substantial as the imaginations behind them. Eroding, balancing and shielding their way through the Sculpture Gym’s gallery, the pieces ponder the many physical qualities of iron, steel, copper and their counterparts.

Marc Bauman, “Ain’t No Stopping Us Now.”

At the back of the space stands a wheeled plate of curved steel with a narrow acrylic window. Its utilitarian form is relatively unassuming, but “Ain’t No Stopping Us Now” by Marc Bauman is formidable in its stature and poise, a thick steel barrier that surely lives up to its name. Like an ancient Greek phalanx shield, this object would surely serve to protect its user from the brunt of most assaults. With the addition of a viewing port, this object also resembles the more practical fashion of a welding mask, bringing its use full circle back to confront its construction. As a symbol, it is a stark ode to human tenacity and willpower, as well as the durability and strength of steel.

Antonio Calzada-Charma, “Disfacimento.”

In the eyes of Antonio Calzada-Charma, metal is still subject to deterioration like the rest of us, as evidenced by his piece “Disfacimento,” which means ‘decay’ in Italian. The faceted crystalline form stands like a steeple with its top pointed high, but its bottom two-thirds are rusted and pocked with weathered holes, threatening to topple the entire structure at any moment. As the scrap material piles around its base, and its top heavy reach is imperiled, the artwork becomes both aging and anxiety forged into one sculpture.

Nicholas Ireys, “Pondera.”

Somewhere between the power and frailty of the former artists’ visions, we find the serene stasis of Nicholas Ireys. He includes three aerodynamic-looking, perfectly balanced creations resting only upon the sharp tip of their bayonet-like bases. Each single point holds aloft a sleek element that warps the boundaries between spacecraft and falcon, flightless creations that fully appear as if they are swiftly slicing through the sky. Of the three, “Pondera” is of particular interest since it seems much less airworthy than its cousins, and more like some type of plant with unfurling leaves and long horizontal vines on either side. Its horizontal length and overall size make its balancing act quite impressive, and one wonders exactly how much effort the artist expended seeking its center of gravity.

There are a number of other inclusions by these artists–a cybernetic hand by the ever impressive Gustavo Actis, a scaly egg creature by Connie Ambridge, and a chain link installation by Ann Klicka and Andy Upright–but the true power of this show lies in the dialogue about the nature of metal itself. As powerful as iron and steel may be, they are not without their weaknesses and limits. Perhaps in this sense, we may learn to treat even these industrial titans with the sensitivity and equity often reserved for the more delicate parts of life. The exhibit will be on display through February 27.

Philadelphia Sculpture Gym is located at 1834 Frankford Ave., Philadelphia; [email protected]; philadelphiasculpturegym.com.