Canyonlands Overlooks

An installation image of seven photographs of overlooks. These are installed in a pattern that looks similar to the way they are located in the landscape.
A camera obscura photograph which shows the inside of a teardrop trailer. A sign is projected onto a piece of cardboard hung up with binder clips.
A camera obscura photograph which shows the inside of a teardrop trailer. An image of the landscape is projected onto a piece of cardboard hung up with binder clips.
A camera obscura photograph which shows the inside of a teardrop trailer. An image of the landscape is projected onto a piece of cardboard hung up with binder clips.
A camera obscura photograph which shows the inside of a teardrop trailer. An image of the landscape is projected onto a piece of cardboard hung up with binder clips.
A camera obscura photograph which shows the inside of a teardrop trailer. An image of the landscape is projected onto a piece of cardboard hung up with binder clips.
A camera obscura photograph which shows the inside of a teardrop trailer. An image of the landscape is projected onto a piece of cardboard hung up with binder clips.
A camera obscura photograph which shows the inside of a teardrop trailer. An image of the landscape is projected onto a piece of cardboard hung up with binder clips.

Canyonlands National Park is a unique space in that much of it has to be seen on foot or by raft. Exploring the Edward Abbey quote “you can’t see anything from a car,” we decided to limit ourselves to the scenic overlooks designed by the National Park Service.  We parked our teardrop trailer at each of the seven overlooks on the paved road through the Islands in the Sky area of the park to photograph the view that many other vehicles were seeing. What has been designated as worthy of seeing?

This collaboration with Meredith Laura Lynn was installed at Austin Peay State University’s New Gallery and Granary Arts as a part of the exhibition “Over Look / Under Foot.” For more information, check out APSU’s visitor's guide, which includes an essay by Veronica Kavass.