Edward Burke in his 1757 treatise on aesthetics: “A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful” describes the Beautiful as what is well formed and aesthetically pleasing, whereas the Sublime is what has the power to compel and destroy us. Romanticist painter Casper David Friedrich in response created evocations of infinite nature, the divinity and obscurity in representation of landscape. This collection of paintings elude exact definition, instead using paint as an indication at the terrifying and awesome.
Dried riverbeds, sinkholes, wastewater spills, and craters seem to coexist comfortably with beauty and sublimity; these particular locations are source images from reportage media. ‘Interfered Landscape’ considers the fusing of both ecological and cultural elements, how these forces contend with each other and how we exist among them. These landscape paintings, examine contradictions of the real and imagined, the dangerous and serene, and the instability of the world around us and all that we can see.