A "work in progress" video installation series using 3D rendering as its central metaphor — metallic objects coalesce and dissolve within the liminal space of the Chaco Canyon valley, a landscape haunted by a civilization that vanished. The choice of site is deliberate: before extraction, before industry, there was already a story of disappearance.
Where much contemporary environmental discourse begins with the consumer — tracing supply chains backward as a kind of moral literacy — Landscapes and Systems refuses that starting point. Instead, the work asks you to dwell first in the land itself, to sit inside the pre-Anthropocene before reckoning with the chasm industry has carved into it. The mineral isn't a resource here; it's a presence, a personification, something that existed long before it was named useful.
The 3D rendering operates as a knowing layer of artifice — synthetic objects born from real terrain, materiality conjured through the same digital infrastructure that facilitates the extractive economy the work critiques. That tension is the point. By animating the geological through a computational lens, the installation holds the contradiction rather than resolving it, mirroring the impossibility of cleanly separating the observer from the systems they inhabit.
Part of an ongoing practice positioned at the intersection of degrowth, systemic inequality, and collaborative world-building, the series continues an inquiry into landscape as something far more unstable than scenery — a political site, a body, a thing that remembers.