The experience of viewing a Rosalyn Bodycomb painting includes a sense of timelessness and quietude. Over the course of her 30+ year career, she has depicted, through her paintings, busy Greek shipping ports, the D.C. Subway Station, and New Orleans Mardi Gras, all with the same seductive atmospheric finesse, as with a memory, there and not there, simultaneously.

Her most recent works are made up of two groups of paintings, larger landscape paintings that depict New Mexico roadsides and a smaller suite of paintings of raindrops on the passenger side window of a moving car. The larger works in the exhibition are about motion and time. The broad dashes of color at the edges of the paintings represent pixelation and placed at the edge of the composition, occur in the space of what would be the near future. As a play on the etymology of the word, Bodycomb evoked the c. 1848 definition of "pixilated," used to describe a person who appeared to be tipsy, addled, or perhaps led by pixies.

The suite of smaller scale raindrop paintings expands Bodycomb’s visual interest in time. The raindrops in the foreground of the painting offer a simultaneous experience of motion and time in relation to the current and near future. Through these measured meditations, Bodycomb is able to freeze time and consider what Albert Einstein famously described as, "...the distinction between past, present and future [being] only a stubbornly persistent illusion."

Following the opening reception, the exhibit will be on view through October 7.