They play with light and glass

The results, in two formats, are dizzying. The square photos, shot with the most basic plastic camera, are blurry at the edges and crisper in the center. “Cherry Branches Against Blue Sky, Arnold Arboretum, Boston’’ with its sharp, pink blossoms in the foreground, swells moodily out of the sky and then pops into the viewer’s vision, like a drunk teetering into your path.

I prefer the rectangular format images, made with a higher-end Fuji 120mm camera. Every square millimeter is crisp. Kocol took advantage of her flash and ambient lighting from traffic signals and streetlights to amp up the eerie glow. “Blooming Ornamental Pear Tree, Walnut Street, Somerville’’ appears spookily lit from below, the foreground blossoms a frosty white compared with the warm pink ones in the distance.

The sky in “Lemon Tree Above the Pool, Los Angeles’’ is such an electric blue, with lemons and palm fronds vibrating against it, I almost had to look away. With no horizon, the viewer has little sense of orientation. All we see are blossoms spinning against the heavens.

Also at Gallery NAGA, Terry Rose’s paintings are about chance and chemistry. Rose pours pigment and varnish onto flat aluminum, and plays with the stuff as it dries — maybe he tilts the aluminum panel, maybe he blows air across the paint. Skins form and wrinkle. Bubbles pit the surface. Oils disperse. Powder-like pigments drift and sparkle.

Paintings in which he uses the most types of pigment, such as the two-panel “Opallios,’’ are fluid and dense. The glossy purple and brown background looks threatening yet alluring, a living shadow. An organic form swims across it, seeping with layers of tone and texture, splatters and rivulets; the whole of it could be a luminous undersea organism.