Graham Parks’ poetic paintings of abstracted landscapes begin with photographs of places he knows. His carefully considered compositions are simplified to overlapping silhouettes of precise delicate details. Masking off areas and layers with tape, Parks meticulously cuts out the intricate shapes of tree branches with filters of light, creek-side reflections, wooded snow-scapes and sea-side boulders, giving each of these elements their own crisply defined identity. In contrast, he then overlays blends of soft color to his mostly monochromatic pictures with indecipherable ghost shadows of faces and figures based on found magazine images. Parks’ reductive paintings are at once simple and soft-spoken, yet complex with much to voice and discover.