Growing up, Naudline Pierre was surrounded by religious iconography. Her father is a Haitian pastor, she told W, who instilled in his children “a version of Christianity that has a really big emphasis on the end of the world.” In her paintings, Biblical narratives such as The Last Supper are combined with a vivid color palette and anonymous, often androgynous, figures. They seem to explore existence itself, and are often as nightmarish as they are idyllic. The Brooklyn-based artist, 34 and a rising star, had her first solo exhibition last year, in Dallas. This show at the Drawing Center turns its attention to Pierre’s works on paper, which are frequently more muted than her paintings. —Elena Clavarino