ARTIST SERIES

Point Mogu, California,
Galleria at Sunset, Las Vegas, Nevada
Mobile Home Park, Las Vegas, Nevada
Mosselrivier, Hermanus
Ventura Harbor, California
Haberberg, Griffen
Industrial Drive, Flagstaff, Arizona
Blue Diamond Road, Las Vegas, Nevada
Via San Martino, Lazise
Spier Stellenbosch
North 11th Street, Las Vegas, Nevada
Virginia Avenue, Culver City, California
West Horizon Ridge Parkway, Las Vegas, Nevada
Gardaland, Lago di Garda
Riseley, Bedford
Sacramento, California
Church Avenue, Highland, California
Darby Avenue, Las Vegas, Nevada
South Rainbow Boulevard, Las Vegas, Nevada
East Horizon Ridge Parkway, Las Vegas, Nevada
East Cosmic Drive, Technology Drive, Fountain Hills, Arizona
Norscot, Sandton
Desert Mountain, Scottsdale, Arizona
Dexter Avenue, Lake Elsinore, California
Mono Lake, California
Halfway Gardens, Midrand
Cockermouth, Cumbria
Linden Road, West Sacramento, California
Scottsvile, Kraaifontein
San Anselmo, San Bernardino, California
Magal
Cuckfield, Haywards Heath
North Grand Canyon, Las Vegas, Nevada
Ovnat, Dead Sea
Saguaro Canyon, Tucson, Arizona
City Creek Road, Mentone, California
Paarl
Hidden Palms Parkway, Las Vegas, Nevada
East Tropicana Avenue, Key Largo Drive, Las Vegas, Nevada
Kevin Street, Las Vegas, Nevada
Birre, Rua das Cordonizes, Cascais
Kibbutz Kalia, Dead Sea
Elk’s Lane, Yuma, Arizona
Estoril, São Pedro
Hundon, Haverhill
Santa Cruz, California
Scottsdale, Arizona
Anton Sister Park, Las Vegas, Nevada
Wendywood Alexandra

At first glance, the large-format color photographs from the series “New Trees” seem to depict everyday woody perennial plants, distinctive only because of their oddly oversized proportions. On closer inspection, however, it becomes apparent that these are not trees at all—they are cell phone towers disguised by telecom companies to blend in with urban and rural surroundings. Appropriating the compositional techniques of Bernd and Hilla Becher, while simultaneously moving away from the Bechers’ rigidly “objective” stance, Voit’s images humorously highlight the absurdity of the awkward camouflage. Voit calls attention to the ubiquity of communication and surveillance technology in the present moment, while also subtly hinting to the shifting role of the natural world in the digital age. Voit’s “New Trees” are neither entirely natural nor entirely social—they exist in a liminal space between the real and the artificial.

Work by Robert Voit

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