Sears-Peyton’s summer exhibition At a Languorous Pace associatively links summer’s leisurely rituals and the intuitive yet orderly time of processual studio practices. From works reveling in the pleasures of sea and sun to abstractions created by a slow choreography of layered marks and materials, the show delights in both the intentional rest of summer vacation and the diligence and open-endedness of studio practice, revealing the delicious slowness they share.

Tyler Haughey’s photograph Gold Crest Motel looks, at first glance, like a vintage postcard from a 1960s seaside resort. Taken only last year, it suggests the ways summer rituals and sites are infused with multi-generational nostalgia— the desire to keep things just the same. Here, summers past endure in the present, revealing vacation time as circular—a freshly painted yesterday.

In Suzy Spence’s 2017 painting Pink Pants, two figures face the viewer side-by-side. Bedecked in equestrian riding gear replete with top hats, and surrounded by a lushly and loosely painted suggestion of landscape, they sport bright pink pants. The symmetrical stability of the composition, the figures’ formal clothes, and their stoic expressions contrast sharply and humorously with their irradiated trousers, suggesting the eccentricity and refreshing lightness of even the most ritualized leisure.

A dreamlike field of aqua blue in Michael Abrams’ 2016 Chasing Radiance evokes the soundlessness of an underwater world. Composed of countless glazed layers applied thinly over time, the painter’s labors build into a humming ostinato of color and light.

At a Languorous Pace links the eternal spaces of summer with the quiet persistence of studio practice, inviting viewers to ponder and relish the pleasures of each.