The seven large enamel-on-wood-panel paintings in Boston-based artist Emil Corsillo’s debut solo exhibition picture a quasi-abstract apocalyptic urban landscape devoid of living things. Rendered using superimposed source photographs of construction and demolition sites, the protagonists of these hard-edged images are I-beam frame works, chain-link fences, concrete barriers, and caution stripes.

Although Corsillo claims a formal allegiance to Russian Constructivism, the planar austerity and bold machismo of his fragmented architectural forms more strongly recall the pre–World War I Vorticist