All images © Barry Underwood, shared with permission
A variety of landscapes set the scene for ’s vivid sculptures (), illuminating sites of human interference and destruction. Utilizing LED lights and reflective materials, he challenges perceptions of flatness and depth and invites us to consider the significance of our surroundings. “Our understanding of landscape is a construct based upon what we want from the land and what we have experienced,” he says.
Underwood’s latest series Linear Construction—to which many of these images belong—“focuses on visual illusions that reflect the land conservation paradoxes created by humans’ deep augmentation of the natural world,” he tells Colossal. While some images contain clear signs of intervention, such as a mown field or a stone wall, others require a closer look at a treeless river bank or a cleared meadow. The artist explores civilization’s impact on nature by superimposing geometric shapes onto landscapes, nodding to the precise angles of built structures and bright lights we might associate with warning flares or neon signs.
To achieve the images, Underwood experiments with what he calls “a catalog of visual devices. I try to find locations that I’m either shooting downhill or uphill to make the space look like it’s torqued,” playing with perception and taking multiple frames that are later stitched together in Photoshop to create what he describes as a “disruptive mood.”
Find more of Underwood’s work on his , and learn more about his process on .
Do stories and artists like this matter to you? Become a today and support independent arts publishing for as little as $5 per month. The article appeared first on .
