The lonely gas stations, car washes and diners in Sarah Williams’ paintings could be anywhere in the United States. But these sensuously painted, depopulated scenes aren’t dry studies of vernacular architecture or ironic commentaries on the generic flavor of American life.

Sarah Williams, Centralia Carwash, 2010. McMurtrey Gallery

Closer in mood to Edward Hopper than Ed Ruscha, these paintings speak of the North Texas-based Williams’ connection to the rural Missouri where she grew up. The importance of these places to her comes through, as do implied narratives heightened by the nighttime setting and haunting mood.

Sarah Williams, Essex Junction, 2010. McMurtrey Gallery

This is Williams’ third outing at McMurtrey Gallery, and she’s quickly establishing herself as a brilliant painter of haunting nocturnes. Some of the newest works, inspired by a recent return home marked by unusually clear night skies, depart from strict realism to include constellations, adding a mystical touch to her night scenes.

Sarah Williams: On the Periphery continues through March 19 at McMurtrey Gallery.