In my exhibition, I explore the relationship between humanity and nature, how it evolves and aspects that remain unchanged despite the passage of time. I explore this through natural cycles, incorporating cyclicality and dynamism and evolution. In each of my pieces, I intend to present different moments in these cycles, each inviting the audience into unique environments. Instead of depicting nature in a purely literal sense, I employ more abstract compositions that illustrate otherworldly scenes that simultaneously seem both familiar and dream-like. I use this contrast to communicate the vastness and unknowable immenseness of nature beyond what we experience day-to-day.

The most prominent issue explored in my exhibition is environmentalism, how our evolving relationship with nature has concealed its influence on our lives. My intention is to remind the viewer that constructed human reality is inseparable from nature. Biblical themes are also prevalent throughout, for example, Firmament, Anthropocene, in addition to motifs such as light, God rays and storms. The purpose of this thematic focus is to create a sense of monumentality and omnipotence. Extending this, I employ Ocular imagery throughout my selected works too. Together, the focus on eyes and biblical themes creates a duality whereby the viewer is both the observer and the observed.

Regarding the exhibition arrangement, my space comprises three main sections: a narrow corridor entrance—containing Emergence and Energy, then, the space opens into an enclosed area, containing much of my work, followed by a separate board at the exit of my exhibition space, which displays Firmament.

I used my space to create a chronological, narrative structure. The emergence of life on Earth, presented in Emergence at the entrance to my exhibition space immediately establishes a relationship between time and the audience’s position within my space. The upwards motion created by the worm’s eye view perspective present in Energy contributes the idea of growth. By placing Energy after Emergence I establish the idea of evolution in the corridor entrance. The idea of explosive growth is reinforced by the contrasting scales of the two pieces, where Energy’s canvas is considerably larger, almost wall-height, compared to the smaller. Energy is hung so that the central locus of the composition is at the same height as Emergence, creating continuity. Lastly, the larger canvas deepens immersion, suggesting teeming life. The narrow, enclosed nature of the corridor entrance forces the audience to engage with the works at a closer distance, which enhances immersion.

Next, in the enclosed area, I extend the narrative structure by showing the transition to the present-day, human era. In Seasons, the piece after Energy, I chose to present the seasons right to left, that is, Spring is on the right, near Energy, while Winter is on the left. Overall, Seasons’ curation functions to establish its role as a transitory piece from the broader scope of nature explored in Emergence and Energy to human presence portrayed later.

Whereas, Ozymandias is positioned centrally in the enclosed area, Anthropocene is placed in the corner, perpendicularly across from each other. This functions to place greater focus on the broader picture Ozymandias presents versus the more constrained human view in Anthropocene. This fulfils my intention to communicate that society has increasingly separated itself from nature, despite, as established in earlier pieces in the chronology, humanity, as a product of emergence and evolution, is ultimately inextricably connected to nature.

Unity serves to resolve the human-nature tension created by the previous two pieces: Ozymandias and Anthropocene. I chose to frame the otherwise ornate and fragile looking piece Unity, because it contributed a greater sense of solidity and purpose, which reinforced the idea of a fundamental unifying order.

The pieces Genesis and Firmament are last, ending my exhibition with the juxtaposition between violent creation and gradual organisation. The overt ocular imagery employed in Firmament, which is at the end of my exhibition space, on the separate board, establishes a cyclical connection with the first piece, Emergence.

The arrangement and selection of each piece was precisely chosen to strengthen the chronological narrative structure that takes the audience from the origins of life to the present, human context, closing with Firmament. The narrative employed in my space is key to the audience’s relationship with my work. By inviting the audience to take this journey, I aim to accomplish the primary aim of my exhibition: to inspire reflection about our evolving place within nature.