Mary Mattingly Confronts Climate Change With Utopic Resourcefulness
By Hyperallergic
In Mary Mattingly’s ruminative exhibition at Robert Mann Gallery, Pipelines and Permafrost, photographic landscapes hang from the walls like scrolls. Their elongated portrait orientations (ranging in size from 44 by 14 to 82 by 24 inches) were inspired by the narrow cylindrical lengths and sedimentary layers of core samples. Each image depicts a fictional composite of an actual site, in which three or more landscape photographs have been stacked atop one another and spliced together to form a stratified column of earth and sky. The columns are intended to evoke — imaginatively rather than literally — the site’s geological timeline. In most cases, one of the stacked photographs is upside down, underscoring the work’s artifice.
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