What does landscape painting look like when satellite images of melting glaciers drift through the back of your mind?
I use painting, mapping and sensory research as a method for understanding landscapes as Points of Access to the Anthropocene. In doing so, I perceive landscape as a multifaceted system, intricately interwoven with diverse materialities and practices influenced by both human and non-human entities.
While painting outdoors, nature constantly forces me to rethink my approach. Physically and metaphorically. What does it mean to acknowledge our inner interconnectedness and vulnerability as organisms? How does our perspective change when we admit that we can no longer pass through the all-embracing entanglements?
In this series, I left my paintings out in nature for a longer period of time. After the first week, there were already clear traces of abrasion. Strange forms of self-similarity begin to emerge between the membrane and took over the canvas. After 6 weeks, I fold the canvas and put it in my backpack. As I walk down the hill, I think about how, exactly now, new cracks are forming between the layers of paint.
The decision to present the canvases in nature creates a variety of interactions between landscape and image. The semi-transparent canvases allow the viewer to see through and experience the painting and landscape as a complement.
