The Mediated Landscape

[nathandavidcompton]

“Sunlight on Water” and “Weeds in Snow” Harry Callahan 1943

[nathandavidcompton]

Nathan David Compton

[nathandavidcompton]

Susan Cofer

Colored pencil on paper

[nathandavidcompton]

Mary Iverson

[nathandavidcompton]

Kristin Texeira

The Ray Bradbury Short Story Series

oil on paper

[nathandavidcompton]

James Kudo

[mpdrolet]

From Weyes Blood

Nathan Perkel

[nathandavidcompton]

Curran Hatleberg’s The Crowded Edge/Dogwood

[nathandavidcompton]

Mathieu Bernard-Reymond

Monuments

[nathandavidcompton]

Jiro Bevis

[nathandavidcompton]

Paul Rouphail

Evening in Miraflores Flight Over a Small City Summertime

[nathandavidcompton]

Tereza Zelenkova and Peter Watkins

Index of Time

[nathandavidcompton]

Mark Dorf

Axiom & Simulation

[nathandavidcompton]

The thing I envy of Picasso the most as a painter is the absolute freedom he allows himself in his forms. There are always successive mental glass boxes to break out of that you encounter when you limit yourself to any rule you hold on to from reality. Picasso actively pulls himself away from the inherent formal constraints of real space to explore formal space itself.

[nathandavidcompton]

Andres Gonzalez

[bobbydoherty]

[nathandavidcompton]

Athena Torri

The Outsider