The mind of Tim Eads must be an astonishing place. Fortunately, by setting foot in Pentimenti Gallery right now, it is possible to wade through the extraordinary imagery of this prolific patternmaker, and catch a brief glimpse of the fantastical features that pepper this artist’s outlandish imagination. In “Vector Forms,” we find an exuberant place that is as perplexing as it is particular; playfully planned, yet optically turbulent.

In the exhibit, Eads leaves no stones unturned in his pursuit to bring the mathematical jungle gym of his intellect into the world of physical objects. Every two and three-dimensional arrangement, color choice and lighting effect is laid out with thoughtful precision, but despite this exacting construction, still seems outrageously carefree.

Tim Eads, “Five Red Drops” (front) and “Wind” (rear).

We find a wonderful example of this in the pairing of “Five Red Drips” suspended before the 13-foot stretch of wallpaper entitled simply “Wind.” The interlocking silver and blue isosceles triangles of the Mylar backing call on the breezy ebb and flow of invisible air movements in both their effervescent hues and the call and response of their shifting patterns. Falling steadily downward in front of this display, the concentric teardrops of red tubing seem as viscous as they are commanded by gravity’s unbending will. Secured at the top by chartreuse shackles, the complementary colors of “Five Red Drips” exude a surface tension that holds these arcs precariously together as they fall through the tumult in unison.

Tim Eads, “Soft Tension.”

As if sculptural romps themselves were not enough, Eads turns to light itself to aid in furthering his shapes with shifting shadows that accent his perfect circles and bulbous curves. Whether these silhouettes are fully intentional or not, they add layers of contingent depth to many of his creations. The contrast between actual and apparent is most obvious in “Soft Tension,” where we find seven overlapping wire circles affixed to a vertical anchor. Behind the object that just barely juts out from the wall, a pair of warped shadows repeats the image with degrading accuracy, and we find ourselves caught between geometric rigor and its accompanying echoes.

Tim Eads, “Acoustic Panel (black).”

Dealing with depth in another way, the inks on acrylic compositions in the show provide a bumpy ride in their own right. Especially in pieces like his “Acoustic Panel” pair, two-dimensional renderings reside on the staggered surface of a square wave configuration, bringing the flat line work nearer and further away from the viewer concurrently. By adjusting one’s vantage point, these already active swirls interact together from two different planes, ultimately endowing an energetic artwork with the added motion of shifting perspective.

Tim Eads, “Bulb Interior.”

Many of the structures in the show rely on a contoured framework, such as “Bulb Interior” and “Pouring Cups,” whose winding structures and bright segments are as fanciful as they are airy – consisting of considerably more negative space than outline. This style typifies nearly all of this body of work in the exhibit, with one notable exception: the sculpture entitled “Lamp.”

Tim Eads, “Lamp.”

Resting on the floor instead of the wall and assembled using mostly straight lines and right angles, “Lamp” is one of the clear outliers here. The only rounded section of this piece is a circular terminus elevated by, and consequently encircling the rigid base that holds it aloft. The circle’s light blue coloration blends in with the wallpaper behind it and contains a row of LED lights on its inside edge. This self-illuminating object sets itself apart by way of not only its construction, but also its ability to shed its own light.

Pentimenti allows for a brief walk in the park when it comes to the ingenuity and whimsy of Tim Eads, but this stroll only leaves us wanting more. Whether it’s his humor or his consideration, his loud patterns or his quiet sense of balance, the only thing that could exceed this exhibition would involve actually being Tim Eads. “Vector Forms” will be on display through December 15.

Pentimenti Gallery is located at 145 North 2nd St., Philadelphia; [email protected]; pentimenti.com.