Landscapes of Future Era, Today

The Cliff, 2024
Digital painting Giclée print on Hahnemühle German Etching and Aluminium Frame
24" × 18" (609.6mm × 457.2mm)
Landscapes of Future Era, Today (HallSpace, Boston, September 2024) is a digital skyscape exhibition that proposes a shift in how we imagine landscape in the context of climate change. Rather than focusing on traditional horizons, the works center on the sky—polluted, unstable, and emotionally charged—as a psychological and environmental space. By reframing the landscape as atmosphere, the exhibition invites viewers to reconsider how deeply our mental image of nature shapes our awareness and responsibility toward it.
The exhibition draws a historical parallel between 18th-century France and the present moment. Three centuries ago, the extravagance of Versailles under Louis XVI symbolized extreme misprioritization of wealth and power, contributing to the French Revolution. At the same time in England, J.M.W. Turner was painting luminous, visionary landscapes that embraced the promise of industrialization. Turner celebrated progress, machinery, and transformation at the dawn of the Industrial Revolution. Today, nearly 300 years later, we live within the long consequences of that industrial optimism—benefiting from technological progress while facing pollution, ecological collapse, and climate instability.

Your mail found me naked, 2024
Water Jet Cutting Aluminium on steel structures. Moskito lamp x2 with aluminium ornamets. Linoleum.
The reference to the French Revolution functions symbolically: if societies fail to protect the systems they depend on, collapse follows. In the context of climate change, this becomes a warning—if we do not protect the environment, we ultimately harm ourselves.



Skyscapes, 2024
Digital sketch (#1-25) Giclée print on Hahnemühle German Etching
My digital paintings are inspired by Turner’s sketchbooks and painterly atmospheres, but they reinterpret his “future” through our present environmental reality. Dramatic skies once filled with industrial promise are now thick with smog and climate anxiety.

#14

#25

#15


Plant #1, 2024
Fimo polymer clay
The works are mounted on aluminum sculptures that recreate decorative elements of Versailles, physically linking environmental excess to historical excess. The opulence of the frames contrasts with the instability of the skies, suggesting that misaligned priorities—then and now—carry consequences.

Away from Far, 2024, Water Jet Cutting Aluminium and Giclée print on Hahnemühle Photo Rag, 55.1" × 86.6" (1401mm × 2200mm)


Plant #2, 2024
Fimo polymer clay


Scroll #1 & Scroll #2, 2024
Digital paintings on Aluminium bars
Yet the exhibition is not purely pessimistic. Hidden within the installation are three small plants made of Fimo polymer clay. These subtle elements quietly undermine the dramatic tone of the exhibition. They represent resilience and regeneration—nature’s ability to re-emerge in unexpected places. While the skies appear catastrophic, these small gestures suggest that renewal remains possible if we choose to act differently.

Scroll #1-2

Scroll #1-1
I'm flattered, 2024
Digital Painting on Hand Cut Aluminium


Clement Greenberg said that figuration was flat and finished.
I’m flattered, 2024
This piece challenges that statement and explores new surfaces and forms of figuration.