Powers’ paintings—which range from landscapes to still lives to paintings of mechanical detritus—recall Impressionism, albeit in its most restrained instances: more Pissarro than Monet. That is, there’s a withholding quality towards light and a painterly restraint geared toward descriptive efficiency rather than expressive effects. Like the impressionists, Powers is attuned to the realities of Modernity as it abuts nature. Two paintings here exemplify these concerns. In both Untitled #11 (2024) and Untitled #17 (2025), a standard aluminum ladder, just inside a garage, is juxtaposed with the flowers and lawn just outside. Elsewhere, however, in his domestic interiors and still lives, the objects can seem, at times, wobbly, unstable, or collapsing into their backgrounds. These flaws, however subtle, can feel eruptive, like ruptures in an otherwise placid world, but they also speak to an admirable ambition. That is, can this type of straightforward, representational painting still capture the sheer, alienated, visual heterogeneity of our world? Maybe.