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Landscape sits nicely nestled within an art historical context as a statement of aesthetics, a celebration of the beauty, and sometimes violence, of the natural world. It is not often politicized and becomes a unifying mode of representation for people to understand art in a way that goes beyond the small demographic of the art-educated viewer. Landscape is accessible to the masses because we, collectively, understand what a landscape is. Even those sequestered to a life lived in a city understand that there is a natural world that exists beyond, and often recognize humans’ feats of engineering as equal to that of the millions of years the world’s worked evolving new and diverse topographies. Landscapes are where we live. Landscapes are what we see when we choose to look.
For Danger Punch, the Landscape was the initial jumping off point to examine notions of place, a way to self-identify through a simple prompt and look into what it means to each member to interact with the landscape that they call home. In this case all photos, and subsequent manipulations, exist in the Pacific Northwest, predominantly Oregon. Some of the imagery is captured by one of the members, other times it is appropriated from sources dear to the artists. Each member began with ten images and the other two members reacted to it visually or with text. This follows a simple interaction that has been the cornerstone of Danger Punch’s collaboration since its inception in 2011. Action and Reaction.