In his Sager Braudis Gallery debut, Damon Freed brings to the exhibit monolithic canvases of black and grey.  The large scale works, in their stark minimalism, are at once imposing and inviting, and invoke in the viewer a seemingly instantaneous state of meditation.   Purged of color, each painting is fundamentally an expression of shape in grayscale.  The compositions are formal, yet playful, deftly conveyed by Freed that the two are not mutually exclusive.  Above all, they are impeccably well-balanced, a symmetry so precise that each strikes an intrinsically satisfying chord, like coming upon a pile of river stones stacked neatly ashore in the dead of night.  Aptly titled The Inner Chapters after Chuang Tzu’s Zhuangzi, the paintings, like the Taoist philosopher’s writings, are metaphoric in their simple purity.  But even absent of their more cerebral context, the series maintains a gravitas which all non-objective work strives toward: essence.