Mischievously grotesque yet lyrically rendered, the prints of woodcut artist Tom Huck employ a dark comedy as they explore the id of Americana subculture. Huck's self-described "rural satires" (the artist hails from southeast Missouri himself) could be truck stop billboards commissioned to Albrecht Durer or the artistic lovechildren of Heironymus Bosch, Robert Crumb, and Coors Light advertising executives. No matter the classification, the point is that Huck's work combines a gorgeous ferocity of technique with an unrestrained and irreverent imagination. Through the characters of dark alleys and backwood communities, Huck creates visual testimonials of love, lust, and bloodthirsty revenge. His compositions often employ a merciless density unreceptive to passive onlookers. The engaged viewer is rewarded with little gems of beauty and humor found tucked away in the myriad marks, and cuts of the artist's block. Much of the allure of this work is its chronological ambiguity. As indebted to contemporary pop culture as it is to humankind's earliest examples of printing, Huck's work reveres its ancestors with the perverse glee of an insolent offspring.