Latticed lines and brightly colored boxes overlay the chaotically transformed landscapes by Mary Iverson (previously). Based in Seattle, the artist uses a combination of oil and acrylic paints, ink, and found photographs to render shockingly prescient scenes blighted by globalization and environmental disaster: barges and shipping containers float in the sea and haphazardly occupy beaches, with their contents sometimes spilling out onto the surrounding area.
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The largely natural scenes and the clean, angled lines and geometric forms clash in Iverson’s superimposed works in a manner that evokes the competition of industry. In a note to Colossal, she shares that given the dramatic changes the world has undergone in the last few years, her “paintings are no longer theoretical.” She explains:
Because at the same time as the pandemic was unfolding, the super mega-ships were entering the trade system. Everyone was stuck at home and ordering stuff at an unprecedented pace, the demand for goods got very high, the workforce shrank, and everything got backed up, creating “supply chain issues.” We now have actual real sea-level rise, huge apocalyptic fires, and shipping disasters unfolding before our very eyes. We are at the precipice of an apocalypse. The question is, how are we going to deal with it?
Often rendered on images of historically and culturally significant sites like Machu Picchu, the Colosseum, and the pyramids of Cairo, Iverson’s works indicate the evolution of human society with a bleak, discouraging perspective. “I look at photos of lost civilizations and think about their hopes, dreams, and ideals, and I wonder what the end will look like for us,” she says.
Iverson shares glimpses into her process and works-in-progress on Instagram, and prints of “Calamity at Cairo” are available in the Juxtapoz shop through January 19.