Photographer Michael Meyesrfeld’s images capture vignettes of the urban landscape where life appears to emerge despite ever-imposing urban materiality. Such life, composed of plant matter, displays itself, like a portrait, against the backdrop of the built environment. From gentle shadows through suburban windowsills to decaying concrete along urban roadsides, to the orderly constraints of corporate modernity, each image tells of a unique narrative where the living coexists with the industrial.

In contrast to the urban landscape, Michael Vickers’ paintings and charcoal drawings deal with the dreamscape of the environment and its relation to the land. Vickers’ work captures a moment where the elements intersect with the landscape and the notion of human intervention is inconsequential, or even irrelevant. The effect is one of total escapism. Vickers refers to the quiet sublime and explores encounters in the foreground, alongside expansive viewpoints. These works respond to the shifting visuality of the land.

Both bodies of work evoke our sentiments as human beings concerning the environment- which are constructs of our own making. Both bodies of work elicit the human role in these constructs, as reality and reverence are engaged with equal measure.