“Poetics,” according to one old Structuralist, is largely a matter of reconciling “the pole of selection” with “the pole of combination.” Some hundred years later, and operating in a far more crowded media environment, Los Angeles painter Brian Sharp has come to a similarly stark conclusion: That making art might be a matter of finding things “hidden,” so to speak, in plain sight (selection) and then interpreting and presenting them in new and meaningful ways (combination).