Charles Keillor documents his surroundings with a meticulous accuracy, yet stylizes and enhances his subjects with a profoundly individual hand. The quality of stillness found in much of his work is intended to pay tribute to classical Japanese cinema. Monochromatic renderings executed in graphite reveal a sublime and haunting world, still populated by our recognition of it but nonetheless unfamiliar and in shift. Much of his work appears as an amalgamation of historical styles, trees that look as thought they could be found in a monumental work by Carr rest adjacent to architectural renderings reminiscent of Erickson. As a result Keillor’s work speaks of the past with a foot planted firmly within the contemporary.