For her first solo at Jack Hanley Gallery, Elizabeth Jaeger, a young Brooklyn-based sculptor, has dispensed with the elongated female figures that have been the hallmarks of her previous exhibitions. In fact, the conspicuous lack of a human presence may be the defining feature of this show, “Six-Thirty.” Spare furnishings made of welded metal, including a cot, shelves, lounge chairs and a sink, comprise a domestic tableau. A pack of white ceramic-and-Hydrocal greyhounds stand sentry, their leashes trailing on the floor as if the canines awaited a master. The dogs are cute, but their faces are contorted just enough to suggest a powerful, and mysterious, sense of disquiet.