As a child, Arthur Simms recalls being inspired by small carts he saw transporting goods to and from the market in Kingston, Jamaica. He has since developed fluency with this sort of improvisational construction—articulating a singular object, often wire sculptures, from many disparate elements—and has experimented with hemp rope as a binding agent. Several of these pieces appear in his latest exhibition, set within a 17th-century deconsecrated church in the medieval Italian town of Cremona, whose 60-foot ceilings allow the Staten Island artist’s newly unveiled sculptures and hanging drawings to absorb and reflect light.