The paintings of Jean Pierre Roy tend to leave one in a state of speechless awe as your brain struggles to process the disturbing fact that the artist has conjured his worlds and painted them solely from his imagination.

Echoing the style of the Hudson River School (Bierstadt, Church and Cole), Roy pushes landscape painting forward by giving us a haunting and sublime visual feast of cinema, science, the apocalypse and hope.

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These images are part of a collaborative project with architectural historian, Zachary Violette, documenting the subversion of the picturesque ideal in the contemporary suburb: the way in which people’s attempt at making a certain kind of landscape for themselves, has ended up destroying the environment they wanted to create.

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These images are part of a project documenting the subversion of the picturesque ideal in the contemporary suburb: the way in which people’s attempt at making a certain kind of landscape for themselves has ended up destroying the environment they wanted to create. Americans’ fetish for the private automobile, and their insistence on highly-organized sites of mass consumption and technology-saturated, mass-produced homes, has left the country with precious little of the pastoral landscape that the whole suburban experience was about in the first place.

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If Thomas Cole and other painters of the Hudson River School were trying to evoke a sense of the sublime in terms of man’s physical insignificance compared to the majesty of nature, Adam Friedman attempts to pit our existential and psychic insignificance compared to geologic processes and temporal history.

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