Reflecting on nature as a vessel for individual and collective memory, plein air addresses the ostensible presence of fascist ideologies that have persisted within U.S. culture since its founding and are on the rise today. plein air composes a landscape of its own making: screenprints of forests X photographed in Germany and the United States, interleaved with news headlines gathered through the year 2024 across major news outlets (a personal archive Geyer creates every year). The articles register and document the concerning resurgence of white supremacist activity across the country.

Approached as mythic terrain, the forest in this work is not one monolithic space, but made up of individual images, of sometimes multilayered prints with iridescent ink. Reflecting the light in an unpredictable manner, the individual sheets might feel unstable and abstract, yet they still generate a landscape across images and headlines at large. The mosaic methodology of the work illustrates how white supremacist ideology is simultaneously revealed and concealed within the everyday — legible in the underbrush, dissolved into the canopy of the spaces we move in. News stories belong to our landscape whether or not we train our attention on them. In this doubled register, Geyer shows how personal and political histories are inherently connected, despite – or perhaps precisely because of – their dichotomies.