The work of Brazilian artist Marina Rheingantz expands the genre of landscape painting, with space seemingly unpopulated, time decelerated and detail momentarily preserved. Created through a varied application of paint, the artist presents place as indistinguishable from atmosphere as well as remembrance and emotional attachment, negotiating seemingly empty regions as accreted with time and resonant with affect. As vestigial repositories of life and conduits of time’s passing, Rheingantz realises landscapes in the wake of activity long since evacuated: wastelands, ruins, training fields. At times adopting an aerial perspective or the suggestion of flight in her paintings, Rheingantz deconstructs topography into its loosest forms, articulating a lyrical suggestion of place that has been ‘seen, sensed and remembered’.