Shara Hughes’ fantastical floral paintings are stunning compositions of extraordinary intensity. If nature is to be believed as ordered chaos with an unfathomable spectrum of mutations and diversity, then Hughes is allowing us to see a small slice of its astonishing wonder. That her remarkable arrangements are entirely figments of her boundless imagination makes them no less alluring. At times wildly energetic, other times elegantly restrained, Hughes’ floral explorations betray an incredibly perceptive grasp of color and composition. “Pretty Prickly” (2019) anchors a smattering of red roses on green ground that serves as the eye of a tornado composed of sweeping black lines and colorful doodles. A different mood is at play in “Naked Lady” (2019) where color and form are the main protagonists. A giant Amaryllis, dipped in a rich, deep purple rises from a bed of prickly greens while its amorphic petals melt languorously into the tropical landscape. Elsewhere, Hughes’ paintings recall the cropped compositions of Alma Thomas’ ordered flower beds or carry echoes of Georgia O’Keefe luscious sensuality. In “Just Another Pretty Face”, the stand-out work of the show, a dense array of flowers occupies most of the picture plane. Here, the intensity of colors and forms achieve an almost surreal sensory delight – it is as if the potency might call up its efflorescent scent. With a remarkable amount of energy Hughes captures and amplifies the vivacity and depth of nature that strains against the dogged logic of the rectangle. At Rachel Uffner through June 23.