The intersection of human institutions and instruments and wild nature as it otherwise would exist without our presence on the planet is the theme that dominates my work. We’ve entered the Anthropocene, like it or not, believe it or not—the unofficial new name for our geological era popularized by Nobel Prize winning climate scientist Paul Crutzen who believes the impact our species has had upon the planet since the industrial revolution is so consequential it is time to rename the era accordingly.  It is not a coincidence that the rise of the great landscape painters occurred more or less concurrently with the transformation of agrarian societies into industrial nation states.  Even those paintings were often yoked to the promotion and expansion of empire, they also reminded us of our place in the cosmos. We sensed already in the 18th century what we know for certain now—that the embrace of hierarchies that set our species apart from and above nature itself would further disrupt our ability to build societies predicated upon ecological stability. We are nature, of course, but our comprehension of that fact has been disrupted by the path our species has taken geopolitically.  As a photographer I am  inspired by the history of photography and the never ending tension between the camera’s documentary and expressive capabilities. I am equally drawn to the Romantic era landscape painters in their passion for  the supersaturated drama of the sublime as it was once upon a time evoked by climate and geology,  and more specifically by the fact that what was metaphor for them has become increasingly literal for human beings of this time of rapidly accelerating climate change.