Still Life is a group show of 8 contemporary artists’ interpretations of the traditional genre. The interpretations are stylistically varied, and thematically range from academic and serious to contemporary and whimsical.

Observed from life and sumptuously painted, Rafael Perez’s Luna Moth and Tony Curanaj’s Red Tea Basket with Books both recall 17th and 18th century European painting before photography’s flattening influence took hold. In The Opening, Werner Hoeflich embraces the errant-snapshot elements of blur, flash and focus. The post-party abandoned Pabst Blue Ribbon can at the top of the stairs seems to imply a larger narrative. There is also lost story behind Tim Liddy’s trompe-l’oeil enamel on copper paintings of worn vintage game boxes. Every stain, scratch and tear on these low-tech childhood diversions is faithfully rendered.

Jennifer Maloney and Peter Schroth offer opposite modernist color theory takes on the theme. Maloney riffs on Mondrian with a gelato spoon grid in her whimsical gouache painting, Florence while Schroth’s Joseph Albers influenced Violet, Dark Green 5, is an intricate, ghostly silhouette of a decayed flower bouquet. Pierre Bonnard and Odilon Redon are the cultural forebears of Jordan Wolfson’s airy, colorful Still Life with Flowers III, where background, subject and foreground merge and separate. With an absence of color, James Moore’s Giorgio Morandi inspired, 2 White Jugs is a spare, meditative painting that requires a slow read to fully absorb its deceptively simple subject. Moore’s paintings can be seen as minimalist versions of the Dutch and Flemish still life paintings of the 17th century in which common household objects had symbolic meaning or contained a hidden allegory about the nature of transience.