The content and style of Peter Edlundd's landscape paintings are typically drawn from 19th century historical and aesthetic material. The art of the Hudson River School painters and the principle of Manifest Destiny are favorite references for Edlund who uses these sources as springboards for his reworked interpretations of the American experience. In a series of recent works, Edlund reflects on the poetry of Emily Dickinson, America’s premier observer of the larger relevance and implications of our natural surroundings. His meticulous rendering of foliage and floral details echo the precision of naturalist observation so typical of Dickinson’s verse, whose clarity of vision and pantheistic philosophy are echoed in Edlund’s utopian panoramas
of a purified Edenic nature.

Hazel Walker's disquieting paintings are inspired by the remote, rugged landscape of her home in the Burrin, a particularly desolate territory in County Clare, Ireland. Reducing the contents of her tiny panel paintings to a few eloquent elements: a lone pony poised against the sea; a single tree bent over in the wind; a banquet table and side chair set on a beach, she suggests hidden surrealistic narratives, silence and isolation. Walker’s surfaces have a fresco like density and opacity which add to the impression of the timeless continuity of her emotional experience.