When European settlers arrived throughout the 18th and 19th centuries and rapidly expanded their territory across North America, the prevalent belief was that of Manifest Destiny. Specifically, that American settlers were destined to expand throughout the continent by any means necessary regardless of cost, environmental impact, or the devastating harm to Native American populations. The artwork of the period, primarily sweeping landscapes influenced by the European pastoral tradition, did well to capture the pristine beauty of the previously undocumented continent, but completely glossed over the reality of what was really happening.
In her, New York-based contemporary artist (43) faces that strange juxtaposition head-on by choosing a literal meataphor—the remains of downed trees—as a canvas for her bucolic oil paintings of the countryside where that very tree may have once originated. A fantastic collision of art history and environmental awareness. The rough edges of the cut branches and trunks appear like windows into the past, telling a story that the tree’s rings alone cannot. She shares via her artist statement:
Painters throughout art history from the Northern Song, Baroque, Rococo and Hudson River School tailored their depictions of nature to serve an artistic narrative. Today, photoshopped images of verdant forests and unspoiled beaches invite us to vacation and sightsee, providing a false sense of assurance that the wilderness will always exist. By exploring idealized views of nature, my work acknowledges our more complex and precarious relationship with the environment.
It should be noted that Moritsugu uses salvaged log segments from naturally fallen trees, or trees that would otherwise be turned into mulch. You can see a collection of new work starting November 12th at
New York. (via )
Courtesy of the artist and Littlejohn Contemporary, NY