A long-standing legacy of Western thought is the reduction of Nature to the mere surface-relations of organic phenomena, thusly solidifying the natural world into a static, mechanical system of objects to be endlessly mined and moulded by the whims and wants of humanity. Yet the onslaught of ecological disasters which plague our contemporary era fiercely challenges this anthropic worldview, revealing in their terrible wake a Nature that is autonomous, unfixed and viciously indifferent to the representational ideals and humanising values we impress upon it. Fanged and stripped of our feverish anthropomorphisms, the Nature that confronts us today is dark, mutant and, above all, chaotic. An artistic and conceptual revaluation is thereby required. Utilising the aesthetics of horror films, weird fiction and esoteric psychedelia, NaturHorror re-visualises the natural world as delirious vortices of abstraction, wherein all representational forms dissolve and amalgamate into intensive whirlpools of line and colour.

NaturHorror consists of five Giclee prints and an accompanying soundscape. Each print is a composite of roughly twenty-three separate pencil drawings of various landscapes, some real and others imagined. Each drawing was scanned and then digitally coloured on PhotoShop. Once all the drawings had undergone this digitalising process, they were then superimposed onto one another to form a single image, causing the mimetic qualities of the original drawings to distort and morph into hallucinatory abstractions. Similarly, the soundscape was built up by layering different recordings of guitar fuzz and distortion on top of one another, which was then further manipulated using the program Ableton. Like the drawings, this process of layering caused the original recordings to blur and amalgamate into a single mass of undulating sound.