![]() Low-res grittiness recalls that her pot and tube is a Wacom tablet and downloaded digital brush sets. When writing about modernist painting, art critic Clement Greenberg described how the Impressionists left “the eye under no doubt as to the fact that the colours used were made of real paint that came from pots and tubes.”* Similarly, Cortright leaves digital details out in the open for us. That kind of Romantic feeling swirls through the artist’s filmed landscape. Think of Caspar David Friedrich’s The Sea of Ice from 1823, a work edging on the surreal so much so that it confounded audiences at the time. To beat back against this notion, painters interpreted the natural with touches of surrealism as Cortright does here. Her scenes recall a continuity of painters throughout history who have tackled nature as subject matter and our own fragility in its grip. Green hill green light esprit de corps, is laced with optimism and freedom.Īs is well-evidenced in her ongoing art practice, Cortright is invested in the history of painting. ![]() But her crafted scenes also come with a sense of relief. ![]() In her new video work, American artist Petra Cortright’s pastiched landscapes defy the assumed order of ecosystems, conveying a low-level anxiety that one might feel when the weather stops making sense. ![]() It is said that a significant marker of climate apocalypse will be madness pervading the seasons, a kind of riptide devouring natural logic and shifting the lengths of the meteorological calendar. Reckless Bloom: On Petra Cortright’s Shuddering Landscapes ![]()
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