Artist Alison Moritsugu chooses the remains of downed trees as a canvas for her bucolic oil paintings of the countryside where that very tree may have once originated.
藝術(shù)家艾莉森·莫里蘇顧把殘?jiān)珨嗄咀鳛楫嫴?，作出一幅幅田園風(fēng)光的油畫，試圖還原這些樹木原產(chǎn)地的鄉(xiāng)村風(fēng)貌。

A fantastic collision of art history and environmental awareness. The rough edges of the cut branches and trunks appear like windows into the past, telling a story that the tree’s rings alone cannot.
這便是藝術(shù)史和環(huán)境意識(shí)奇妙的碰撞。斷枝斷木粗糙的邊緣有如通往歷史的窗戶，講述了單單年輪本身所不能講述的過往。

Painters throughout art history from the Northern Song, Baroque, Rococo and Hudson River School tailored their depictions of nature to serve an artistic narrative. Today, photoshopped images of verdant forests and unspoiled beaches invite us to vacation and sightsee, providing a false sense of assurance that the wilderness will always exist. By exploring idealized views of nature, Moritsugu's work acknowledges our more complex and precarious relationship with the environment.
藝術(shù)史上的畫師從北宋年間到巴洛克和洛可可時(shí)期，及至哈德遜河畫派，都通過描繪自然來達(dá)到藝術(shù)敘事的效果。而如今，種種圖片經(jīng)編輯修改，所呈現(xiàn)的青翠森林與未經(jīng)破壞的海灘吸引我們?nèi)ザ燃?、去觀光，營(yíng)造出原生態(tài)景色永不消逝的假象。莫里蘇顧的作品探索理想化的自然景色，意識(shí)到我們與環(huán)境更為復(fù)雜危險(xiǎn)的關(guān)系。

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