Brittney Leeanne Williams returns to Zevitas Marcus with a solo exhibition which is much more ambitious than her brief appearance a year ago yet still champions a unique style to the canvas. Instead of being demur with her aims and painting with more abstraction, Ms. Williams concentrates the work into a syncretization of biblical lore with cosmic empiricism.

The great balance in this effort of extending her artistry tis with the daring task of incorporating natural wonder into the Book of Ruth narrative. Ms. Williams creatively imbues the emotional undercurrents to the narrative by encapsulating it into a larger natural order. Religious preconceptions often occlude thinking of the humanity of the Bible as natural; as a logical extension of the time-evolution of the universe. Yet by abstracting the personhood through the melding of the celestial with the geological, we have a harmonious meditation of oneness in nature. It is to suggest that Ms. Williams is uncloaking the sanctitude of religious script and God’s intervening presence in mankind to help us recognize that such an intervention is logically natural.

This is quite the profound aim, as it posits the totality of the order as good. This is ostensibly the paradox of living in a moral universe; of how can there be evil within such goodness? Yet such a landing strike is quintessentially Western high cultural; of breathing salvation into the contradictions within the culture’s dogmatic position of the world’s goodliness. That is, even emotional vicissitudes are elements of nature and are therefore accordingly good.

This is ultimately a successful effort at bringing to the foreground Biblical drama as consummately natural in the artist’s novel style, to help reveal the inner clockworks of the cosmos as regulated by perfection.