Seattle, WA: Catharine Clark Gallery celebrates Seattle Art Fair’s second season with Altered States, a curation of work by artists exploring natural and human sources of landscape and ecological transformation. With an appreciation of Seattle’s long legacy of environmental consciousness, Booth B18 showcases several artists’ work that take measure of human and natural impact—exploring both the synergistic and competing influences evoking change across our planet. Kara Maria’s paintings of rare and endangered species were inspired by her stint as Artist-in-Residence at Recology, the pioneering waste reduction and recovery provider serving both Seattle and San Francisco. Maria blends abstract and representational traditions in a visual dialogue about the precarious state of the environment. Walter Robinson’s Fruit de Mer conflates the nautical design of a container ship and an ancient Egyptian funerary boat. His colorful, hand car axis mundi (stairway to heaven) powerfully comments on capitalism. Sandow Birk’s Imaginary Monument, “Proposal for a Monument to the Free Sea,” lauds the historical documents responsible for current maritime law, drawing attention to the infrastructure humans have erected over centuries in an attempt to regulate a ubiquitous natural force. Masami Teraoka’s East meets West depictions of the sea, and updates to traditional ukiyo-e subjects are a stark reminder of the timeless power of the Pacific Ocean, and the rich artistic and cultural influences wrought by our proximity to it. With works like Two Treasures, Wanxin Zhang highlights the loaded context of nature in our political landscape. Zhang’s pandas embody the China’s break with isolationism, and the power it now holds over scarce commodities, with enormous cultural cache, in demand across the world. In addition, Booth 401 features several videos. Chris Doyle’s video Surface Tension (2015) is an iteration of work produced for The Lightening: A Project for Wave Hill’s Aquatic Gardens, which was commissioned in 2015 for the 50th anniversary of the Bronx-based public garden and cultural center. The videos draw upon a profound environmental anxiety around water, while at the same time immersing the viewer in their visceral beauty. In his most recent video titled Circular Lament (2016), Doyle continues his on-going exploration of Thomas Cole’s The Course of Empire series (1833-36). This video correlates to Cole’s Consummation of Empire, which depicts human civilization at the height of decadence, as a point of departure. In this fifth and final phase of the project, Doyle explores the anxiety of climate change that is so prevalent and inextricably linked to the anxiety of the transition from industrial to digital culture.