aving worked from a studio in the Gowanus area of Brooklyn for two decades, Elizabeth O'Reilly is at home in the abandoned precincts of the canal with its solidly geometric shapes. The artist alternates between the flexibility of oils and the inherent limitations of collage, with its clearly defined edges. These works provide an intimate view of Brooklyn, combining the dominance of the industrial with the energy of the natural world. The solidly geometric shapes of man-made objects turn loosely broken and beautiful in the mirror of the canal water.

Industrial depictions of the Gowanus Canal are complemented by scenes of Marion Lake on the North Fork of Long Island, where the artist spends weekends. In these paintings, she is similarly interested in the depiction of architecture as reflected in water. A spit of land separates Marion Lake from Gardiner’s Bay, and provides an alternating rhythm of land to water; the partially frozen lake echoes the canal with the geometry of the houses reflected in the water. Both bodies of work exhibit lively brushwork, thick atmosphere and a preoccupation with geometry, combining formal issues with a sense of place.