HIGH

An invitation to look up in order to look back down.

In a diffuse series of topical spreads, McGeachin assembles assorted side- and/or ground-level views of select trees, arboreal creatures (mostly Australian), birds and flying insects, aircraft, bird wing design, Himalayan peaks and wildlife, climbing gear, ancient temples, modern skyscrapers, clouds, constellations, and atmospheric layers—all in service to the proposition that high places “have a way of putting things into perspective and our home looks very fragile from up here.” Viewers will mostly have to take her word for it, as her illustrations run to idealized natural settings or schematic galleries of images, aside from one aerial view of some relatively tidy deforestation and a later melodramatic scenario of a smoky world on fire. Also, a nonsensical notion that unless we stop punching holes in the atmosphere all our air will leak out into space and “be lost forever” makes the rest of her valid but vague warnings of the dangers of pollution and habitat destruction seem facile. Rarely seen human figures are stylized or light-skinned.

Not so much high concept as no concept, or no clear one anyway.