The paired series A Great Homesickness and Consubstantial question whether nature can exist apart from humans, or whether our impact has been so profound that there’s nothing natural about nature anymore. The “nature” depicted in these series was sourced from databases of user-contributed 3D models, printed on transparent paper, and collaged into constructed landscapes and arrangements of natural elements. Gold accents reference religious iconography. 

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A Great Homesickness meditates on the romanticized vision of nature as a place for spiritual renewal and solitary escape. Yet, how can it serve as a solitary refuge from other humans when human activity has altered even the chemical composition of the soil? The bright white voids within these compositions convey a sense of absence and loss. 

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In Consubstantial, 3D models of natural forms are paired with digital textures of human skin that have been cut into the shapes of leaves, stones, and other organic objects to visually merge people with an artificial version of nature. The uncanny quality of these hybrids speaks to fear about both the ecological crisis of climate change and the spiritual crisis that climate change poses for how we understand our position and power in relation to forces we once thought were outside of our control.