Most of the paintings resemble vague landscapes, as if muddled by memory or altered by shifts in time or climate. Though we often brush aside weather as the trivial subject of small talk, the feeling or smell of the air and the potency and color of light in the sky informs our memories significantly, and Laurie harnesses that force by creating highly specific climates in otherwise-ambiguous spaces. The misty washes of warm grays and yellow tones in ‘the near to far’ and ‘projectiles come to rest, we understand that better in hindsight’ mimic the atmosphere of a severe incoming summer storm or a tornado. A group of four narrow and oddly vertically oriented landscapes breathe winter: ‘in awe of nothing’ and ‘a potential turning point’ invoke icy stillness in the air. Beside them, ‘a means to measure change’ and ‘between here and there’ feel like cold, marshy rain.