Philadelphia-born and based Karen Kilimnik doesn’t just borrow from the past: she raids it, remixing fragments of old master splendor into her own richly imagined universe. In Kilimnik’s world, periods collapse, narratives snap, and centuries collide, adrift in a floating fantasy. Kilimnik paints as if she were a contemporary of Joris Hoefnagel or Roelant Savery at Rudolf II’s court in Prague, wandering the emperor’s enchanted menagerie with a brush in one hand and a pocket full of glitter.

In the floral Kingdom of the Renaissance, Kilimnik cojoins flora and fauna in a deconstructed constellation. Her title whispers a little spell, layering meaning onto the Renaissance’s already magical world. Instead of her predecessor’s use of copper painting, Kilimnik dusts hers with glitter-a sparkling wink bridging four centuries. Flanked by Jan van Kessel’s paintings, the floral Kingdom of the Renaissance revisits and reenchants the Wunderkammer tradition, blurring past curiosity and present imagination.