Wilderness Camp by David Hlynsky

Nature, by virtue of the human languages that construct it, is always anthropomorphic. Real nature is nameless. Life on earth is a seamless texture of protoplasm dancing to a cacophony of sensations and pumped by the pulsating rhythms of stone and sun, water and gravity, carbon and oxygen. Obsessed with measuring its detail, we're virtually blind to the whole. In this infinitely complex cosmos, every description is an error of omission producing instead, a multitude of human natures... a litany of paradises lost and re-imagined. Theological allegory or Hollywood melodrama, nature myths have always mapped our sense of yearning and wonder. But this awe is increasingly interrupted by a sidelong glance taken from our horizon of postmodernity. The highway back to Eden is long overgrown with a tangle of image and artifice.





			Nature, by virtue of the human languages that construct it, is always anthropomorphic. Real nature is nameless. Life on earth is a seamless texture of protoplasm dancing to a cacophony of sensations and pumped by the pulsating rhythms of stone and sun, water and gravity, carbon and oxygen. Obsessed with measuring its detail, we're virtually blind to the whole. In this infinitely complex cosmos, every description is an error of omission producing instead, a multitude of human natures... a litany of paradises lost and re-imagined. Theological allegory or Hollywood melodrama, nature myths have always mapped our sense of yearning and wonder. But this awe is increasingly interrupted by a sidelong glance taken from our horizon of postmodernity. The highway back to Eden is long overgrown with a tangle of image and artifice. Site © David Hlynsky, 1999
		David_Hlynsky, Hylynsky, Hylnski, Hlynski, Halinski, Hilinski, Helinski, photographic_art, postmodern_art, post_modern_art, tableaux, ironic_art, animals_in_nature, animal_art, taxidermy, allegorical_art, contemporary_art, contemporary_photography, photography, Giclée, The artist has been deeply influenced and inspired by David_Byrne, Cindy_Sherman, Teun_Hocks, Victor_Muniz, Catherine_Chalmers, Randy_and_Berenicci, Robert_Cumming, Cold_City_Gallery, Coach_House_Press, Laurie_Anderson, image_nation, Ontario_College_of_Art, Canadian_Museum_of_Contemporary_Photography, Ryerson_Polytechnical_University, Mira_Goddard, Man_Ray, Barbara_Norfleet, Boyde_Webb, Frank_Horvat, Holly_King, Zeke_Berman, William_Wegman, Robert_Cumming, Shirley_Yanover, Napoleon_Breausseau. A series of ironic postmodern photoworks which probe issues of culture and nature. These tableaux images create a quasi romantic pastiche of pop science and kitch cosmology by transporting taxidermy, rubber animals and the like back into the Canadian forest. Nature, by virtue of the human languages that construct it, is always anthropomorphic. Real nature is nameless. Life on earth is a seamless texture of protoplasm dancing to a cacophony of sensations and pumped by the pulsating rhythms of stone and sun, water and gravity, carbon and oxygen. Obsessed with measuring its detail, we're virtually blind to the whole. In this infinitely complex cosmos, every description is an error of omission producing instead, a multitude of human natures; a litany of paradises lost and reimagined. Theological allegory or Hollywood melodrama, nature myths have always mapped our sense of yearning and wonder. But this awe is increasingly interrupted by a sidelong glance taken from our horizon of postmodernity. The highway back to Eden is long overgrown with a tangle of image and artifice.