Cynthia Daignault's lyrical paintings are meditations on the act of looking. Often depicting landscapes seen through window frames, her works ask us to consider the ways our perceptions and views are mediated by various architectural structures. In the paintings from her “Glass House” series (2013), the window complicates vision by introducing disorienting reflections. Other works consider the practice of prolonged observation—the way a particular view can become a part of our consciousness. Consisting of four paintings, Any Morning, Any Evening, Any Day (2012) takes as its subject a tree that stood outside the artist's childhood bedroom window. Daignault presents two views of the tree—one in daylight and one at night—revealing how a thing that is seemingly constant can nevertheless go through cycles of radical change.