A clear glass valve on a strand of silver party beads beckons from the entrance to Eli Hansen’s exhibition, “Next time, they’ll know it’s us.” Dangling from a nail, it gives off a felonious pong, like those signs of a subculture that pass under the noses of the majority while remaining indecipherable. What lies beyond this subversive gesture, in Hansen’s second solo show at The Company, consists of a number of sculptural works of delicate blown glass paired with rough and ready found materials like reclaimed wood and steel, beakers and wire. Shelves, cobbled together from wood scraps, hold hand-blown flasks in a variety of colors. Some works carry a narrative charge, such as We bought the whole thing and only sold half (all works 2011), in which two empty vials shaped like bud vases hang from wire nooses, one corked and other portentously left open. Still others pursue more fantastic images of chemistry class gone native, for instance, in We’ll return the favor, where three ash-blackened beakers droop like pears from a curved stick, topped with a glass tip that resembles a giant glossy sprout. Trained as a glassblower, Hansen is skilled at shuffling the conflicting roles left to the …