Two very different visions of what we might call landscape. The work of photographer Paul Gaffney describes a space that is dark and knotted, ambiguous in scale and depth—an eye probing the darkness, seeking to make sense of the tangle of undergrowth. Michael Ashkin presents us with a collection of loosely framed images of an unnamed place. Both bodies of work set out, quite deliberately, to confront the viewer’s received ideas about space—here, the space of Western landscape—by subverting the spatial logic of the camera.
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