The Third Nature series was inspired by my fascination with an obscure tool called a Claude Glass. Allegedly developed by renowned painter Claude Lorain, this black convex mirror was used by artists to reflect landscapes. The dark color and curved surface of the glass reduced unnecessary detail and squeezed a complex view into a neat composition. The Claude Glass caught on just as the British were reshaping their landscape into the Picturesque style. Tourists strolling through the countryside in search of picture perfect views would use these mirrors to capture the image of nature as a momentary work of art. Here, landscape is manipulated to look like a painting; the earth becoming an expression of man’s view of nature rather than man’s true experience of nature. History, decay, and disorder are all potent tricks of the picturesque gardener, giving way to a knowingly melodramatic visual array. It is telling that we call these views scenery. Like a stage set, the picturesque garden was created as a site for the dramatic display of human experience.