An established and respected figure amongst artists, aficionados, and critics of the American landscape tradition alike, Stinson’s panoramas of endless skies and sweeping fields serve as both detailed documentation of a changing landscape as well as commentary on a culture fixated on progress.

 

As technically masterful as it is conceptually nuanced, What Lies Between trains its attention to physical places and correlating psychological spaces that speckle the American West. In constant flux as technological advances and celebrated landmarks prioritize certain locations over others, human activity inevitably leaves a mark. Stinson’s romance with once pristine landscapes altered by human curiosity, expansion, and aspiration works its way throughout each piece, meandering between towering wind turbines and around abandoned desert homes.

 

Eighteen new works of varying scale ponder the space and substance between beginning and end, old and new, resource and potential. Landscape, synonymous with the society that inhabits it, whether characterized by everyday infrastructure or protected national park, indicates the land’s usage and thus, its cultural value.