Tomory Dodge’s landscape-like paintings based on photographs of swamps and deserts, clouds and trees, appliances and explosions have slowly given way to pure abstraction. “Before, the brushstrokes constructed the image,” the Los Angeles-based artist has said, “Now the brushstrokes are the image.” His canvases are covered with hybrid gestures, created by laying down a mark and then altering it, a process that has become even more important in his more recent mirrored images, where he attempts to re-create these marks. The result can be layers that bleed together, organized by vertical and horizontal rainbow colors, or built-up impasto surfaces that seduce the viewer, earning him comparisons to Joan Mitchell and Gerhard Richter.