Artist Alison Moritsugu chooses the remains of downed trees as a canvas for her bucolic oil paintings of the countryside where that very tree may have once originated.

钘濊(sh霉)瀹惰壘鑾夋．·鑾噷铇囬¨鎶婃畼?ji膩n)鐝ㄥ梽鍜€槌涙カ瀚�?锛屼綔鍑轰竴骞呭箙鐢板湌棰�(f膿ng)鍏夌殑娌圭暙锛岃│鍦栭倓鍘熼€欎簺妯规湪鍘熺敘(ch菐n)鍦扮殑閯�(xi膩ng)鏉戦ⅷ(f膿ng)璨�銆�

A fantastic collision of art history and environmental awareness. The rough edges of the cut branches and trunks appear like windows into the past锛� telling a story that the tree’s rings alone cannot.

閫欎究鏄棟琛�(sh霉)鍙插拰鐠�(hu谩n)澧冩剰璀�(sh铆)濂囧鐨勭鎾炪€傛柗鏋濇柗鏈ㄧ矖绯欑殑閭婄罚鏈夊閫氬線姝峰彶鐨勭獥鎴�锛岃瑳杩颁簡鍠柈骞磋吉鏈韩鎵€涓嶈兘璎涜堪鐨勯亷寰€銆�

Painters throughout art history from the Northern Song锛� Baroque锛� Rococo and Hudson River School tailored their depictions of nature to serve an artistic narrative. Today锛� photoshopped images of verdant forests and unspoiled beaches invite us to vacation and sightsee锛� providing a false sense of assurance that the wilderness will always exist. By exploring idealized views of nature锛� Moritsugu‘s work acknowledges our more complex and precarious relationship with the environment.

钘濊(sh霉)鍙蹭笂鐨勭暙甯緸鍖楀畫骞撮枔鍒板反娲涘厠鍜屾礇鍙彲鏅�(sh铆)鏈�锛屽強鑷冲搱寰烽仠娌崇暙娲撅紝閮介€氶亷鎻忕躬鑷劧渚嗛仈(d谩)鍒拌棟琛�(sh霉)鏁樹簨鐨勬晥鏋�銆傝€屽浠�锛岀ó绋湒鐗囩稉(j墨ng)绶ㄨ集淇敼锛屾墍鍛堢従(xi脿n)鐨勯潚缈犳．鏋楄垏鏈稉(j墨ng)鐮村鐨勬捣鐏樺惛寮曟垜鍊�?n猫i)銈剁噧浣熲懛銉揯鍏�锛岀嚐閫犲嚭鍘熺敓鎱�(t脿i)鏅壊姘镐笉娑堥€濈殑鍋囪薄銆傝帿閲岃槆椤х殑浣滃搧鎺㈢储鐞嗘兂鍖栫殑鑷劧鏅壊锛屾剰璀�(sh铆)鍒版垜鍊戣垏鐠�(hu谩n)澧冩洿鐐哄京(f霉)闆滃嵄闅�(xi菐n)鐨勯棞(gu膩n)绯�銆�