Supernatural

What will future cultures think of the scarred earth we leave behind? My long-term project, “Supernatural,” contrasts past iconography with the surreal conditions of the Anthropocene era. I imagine future archaeological discoveries and the potential narratives that could emerge about our civilization.

I photograph the liminal spaces of the Anthropocene landscape, from the buffer zones between extraction industries and the spaces we inhabit to abandoned mines that are slowly being reclaimed by nature. I document the scope and scale of these landscapes– the concentrations of minerals and acidity buildup from mining and quarrying result in unique visuals and chemical elements that I capture in my work. By framing these landscapes as aesthetic spaces, I aim to raise awareness of our consumption and our reliance on natural resources. I also ponder, “What action can we take today to ensure a more sustainable future?”

A unique feature of my contemporary photography work is that I offer a female perspective of these landscapes by photographing myself on location. I document myself wrapped in fabric to accentuate the contrast between the softness and vulnerability of the body and the environment. I see parallels between our culture’s exploitation of nature and its objectification of the feminine. My draped figures reflect archetypes of objectification that have shaped perceptions of women and female roles throughout history. They also embody the enduring trope of female mystique, often presented through a male lens.

Each photograph is captured and created on site: they are the result of research, travel, and planning, not the work of Photoshop or AI. Witnessing and documenting these sites on the ground level is an important part of my process. The series is also a search for physical connection to our environment in a time when image overshadows reality, and my experiences in these spaces are vital to this ongoing project, which has taken me to dozens of locations around the world.

Liz Miller Kovacks is part of Issue 18 by Guest Editor Hank Willis Thomas.