With roots as diverse as Hieronymus Bosch, 19th century panoramic landscape as well as large Modernist abstraction, these 18 foot horizontal paintings are all related in form and content. Each represents an expansive, highly detailed cross section of a landscape: a forest of dead trees in an oily bath, a leafy forest floor strewn with trash and dead creatures, a stormy Turner-esque sky filled with falling found objects, and a mucky dump containing bits and pieces of found consumer and natural waste. As with the smaller paintings, these landscapes are full of contradictions: terrifyingly beautiful, the forms of the dead trees and decaying leaves are intricate and endlessly fascinating; the many, often unidentifiable, objects contained in these degraded environments are bright and seductive , belying their status as trash. The pairings of the natural and manufactured consider the mutual constructions and interdependencies of humans and nature and imagine their possible collapse and re-emergence. Past, present and future are simultaneously evoked promoting myriad questions about our attitudes towards nature and ourselves—the complexities and moral dilemmas of living in a techno, consumerist world as we simultaneously contribute to the earth’s destruction. The same formal investigations such as abstraction v. figuration seen in Picasso’s Bastards are in play, as the paintings explore the visual language appropriate for expressing these endgame situations.