Crinkled Escape Routes and Other Somewhat Flat Things combines the language of Martine Poppe’s pale and ephemeral aesthetic with blurred landscapes, the gallery given over to a dialogue created by the juxtaposition of these dreamy canvases with images from the American wilderness as seen along the country’s long rural highways. Buffalo skulls, ‘no hunting’ signs and yucca plants face off against ethereal surfaces so hazy their origins as photographs are hardly discernable. Transcending the specifics of the American landscape, they open up, evoking visions of spacious scenery and a less pressured existence. Assembled from images shot along the iconic Route 66, the works take the viewer on a journey through landscapes mental and external, shifting back and forth between the present and the part-remembered, part-constructed ideal; at the front of the gallery one is presented with an image of cars, yet the original photograph on which it is based has been crushed and crumpled up, like a time-worn billboard or poster.

(Kristin Hjellegjerda Gallery, 2016)