When I saw Salisbury Cathedral from the Bishop’s Garden (1822) by John Constable, I understood that he was not painting “landscape”: his nature was already an optical construction.

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Years later, in New York, I immersed myself in research on image production. David Hockney’s book Secret Knowledge shows how Renaissance perspective was also constructed through optical devices such as concave mirrors and projections. It is at this point that this series emerges.

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These mirrored objects were installed in Central Park, which is also a constructed landscape. The “nature” there is just as fabricated as Constable’s light or the perspective in Hockney’s diagrams.

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In these mirrored spheres, the sky is captured inside the object, and the entire landscape becomes contained within a single point.

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This series reveals something simple: in this context, there is no such thing as a “natural” landscape. There is only the way light, space, and the devices we use to look construct what we call reality.

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Gustavo von Ha