The easy ubiquity of digital printing has caused disgruntlement and frustration in the print world, with the most complaints zeroing in on the qualities of digital surfaces—their flatness, uniformity, and bland complacency. But every once in a while there are artists and images for whom those qualities are instrumental and even meaningful. Such is the case with Vanessa Marsh’s Everywhere All at Once pigment prints.
In each member of this ongoing series, a starlit sky is the backdrop for silhouetted bits of landscape: a gathering of palm trees, stretches of prayer flags, the skeletal hummock of a roller coaster. Marsh is interested in the joint where the earthly meets the cosmological, and where human intervention meets natural inevitability. This is manifest not only in the images but also in the methods used to make them.