• Installation Shots
  • Artwork
    • Amelie Ducommun Sensitive Water Mapping #24, 2019 Mixed media on canvas 39 3/8 x 39 3/8 in. 99.9 x 99.9 cm.
      Amelie Ducommun
      Sensitive Water Mapping #24, 2019
      Mixed media on canvas
      39 3/8 x 39 3/8 in.
      99.9 x 99.9 cm.
    • David Burdeny Tangents 2, Great Salt Lake, Utah, 2017 Archival pigment print 44 x 44 in. 46 x 46 in. framed
      David Burdeny
      Tangents 2, Great Salt Lake, Utah, 2017
      Archival pigment print
      44 x 44 in.
      46 x 46 in. framed
    • Erin Treacy Hiding Behind a Tree, 2018 Oil, acrylic paint, pencil, Conte, marker and ink on linen 48 x 60 in. 121.9 x 152.4 cm.
      Erin Treacy
      Hiding Behind a Tree, 2018
      Oil, acrylic paint, pencil, Conte, marker and ink on linen
      48 x 60 in.
      121.9 x 152.4 cm.
    • Stephanie Pryor Under the Earth, 2014 Acrylic, paper and microglitter on canvas 31 x 45 in. 78.7 x 114.3 cm.
      Stephanie Pryor
      Under the Earth, 2014
      Acrylic, paper and microglitter on canvas
      31 x 45 in.
      78.7 x 114.3 cm.
    • K'era Morgan Rocky Waters, 2024 Mixed media on paper 13 1/2 x 10 in. 34.3 x 25.4 cm.
      K'era Morgan
      Rocky Waters, 2024
      Mixed media on paper
      13 1/2 x 10 in.
      34.3 x 25.4 cm.
    • David Burdeny Iceberg 02, Greenland, 2006 Archival pigment print 23 x 69 in. unframed
      David Burdeny
      Iceberg 02, Greenland, 2006
      Archival pigment print
      23 x 69 in. unframed
    • David Mohr Array (1), 2016 Acrylic and sand on linen 8 x 10 in. 20.3 x 25.4 cm.
      David Mohr
      Array (1), 2016
      Acrylic and sand on linen
      8 x 10 in.
      20.3 x 25.4 cm.
    • Bruna Stude WATERLINE NO16, 2016 Platinum/palladium prints on Arches Platine 310 gsm paper 40 x 30 in. 42 x 32 in. Framed
      Bruna Stude
      WATERLINE NO16, 2016
      Platinum/palladium prints on Arches Platine 310 gsm paper
      40 x 30 in.
      42 x 32 in. Framed
    • Fernando Mastrangelo Richter Black Hand-dyed sand and powdered glass 39 x 28 in.
      Fernando Mastrangelo
      Richter Black
      Hand-dyed sand and powdered glass
      39 x 28 in.
    • Chase Langford Santa Rosa Cove, 2020 Oil on canvas 30 x 40 in. 76.2 x 101.6 cm.
      Chase Langford
      Santa Rosa Cove, 2020
      Oil on canvas
      30 x 40 in.
      76.2 x 101.6 cm.
    • Fernando Mastrangelo Arctic, 2019 Powdered glass and sand 42 in. diameter
      Fernando Mastrangelo
      Arctic, 2019
      Powdered glass and sand
      42 in. diameter
    • Chase Langford Blue Glacier 3, 2023 Oil on canvas 36 x 24 in. 91.4 x 61 cm.
      Chase Langford
      Blue Glacier 3, 2023
      Oil on canvas
      36 x 24 in.
      91.4 x 61 cm.
    • David Burdeny Adeli Penguins on Fast Ice, Antarctica, 2007 Archival pigment print 44 x 44 in. 46 x 46 in. framed
      David Burdeny
      Adeli Penguins on Fast Ice, Antarctica, 2007
      Archival pigment print
      44 x 44 in.
      46 x 46 in. framed
    • K'era Morgan Plein Air Drawing #5: Snow Desert, 2023 Mixed media on Aqaba paper 27 x 36 in. 68.6 x 91.4 cm.
      K'era Morgan
      Plein Air Drawing #5: Snow Desert, 2023
      Mixed media on Aqaba paper
      27 x 36 in.
      68.6 x 91.4 cm.
    • Erin Treacy Muddy Feet, 2019 Oil, acrylic paint, pencil, Conte, marker and ink on canvas 66 x 84 in. 167.6 x 213.4 cm.
      Erin Treacy
      Muddy Feet, 2019
      Oil, acrylic paint, pencil, Conte, marker and ink on canvas
      66 x 84 in.
      167.6 x 213.4 cm.
    • Bruna Stude WATERLINE NO6, 2016 Platinum/palladium prints on Arches Platine 310 gsm paper 40 x 30 in. 42 x 32 in. Framed
      Bruna Stude
      WATERLINE NO6, 2016
      Platinum/palladium prints on Arches Platine 310 gsm paper
      40 x 30 in.
      42 x 32 in. Framed
    • Anthony Lamb Captivation, 2019 Digital negative print on Hahnemuhle ultra smooth fine art 305gsm paper 33 x 27 in. // 35 x 29 in. framed
      Anthony Lamb
      Captivation, 2019
      Digital negative print on Hahnemuhle ultra smooth fine art 305gsm paper
      33 x 27 in. // 35 x 29 in. framed
    • Stephanie Pryor Flower top, 2015 Acrylic, foil, vinyl, and micro glitter on canvas 40 x 60 in. 101.6 x 152.4 cm.
      Stephanie Pryor
      Flower top, 2015
      Acrylic, foil, vinyl, and micro glitter on canvas
      40 x 60 in.
      101.6 x 152.4 cm.
    • David Mohr Array (3), 2016 Acrylic and sand on linen 8 x 10 in. 20.3 x 25.4 cm.
      David Mohr
      Array (3), 2016
      Acrylic and sand on linen
      8 x 10 in.
      20.3 x 25.4 cm.
    • David Burdeny Ephemera, Huangshan, China, 2017 Archival pigment print 44 x 44 in. 46 x 46 in. framed
      David Burdeny
      Ephemera, Huangshan, China, 2017
      Archival pigment print
      44 x 44 in.
      46 x 46 in. framed
    • Fernando Mastrangelo Drift Schuler Mirror Hand-dyed sand and mirror 39 x 28 in.
      Fernando Mastrangelo
      Drift Schuler Mirror
      Hand-dyed sand and mirror
      39 x 28 in.
    • Amelie Ducommun #23, 2022-2024 Mixed media on paper 24 3/4 x 20 7/8 in. 63 x 53 cm.
      Amelie Ducommun
      #23, 2022-2024
      Mixed media on paper
      24 3/4 x 20 7/8 in.
      63 x 53 cm.
    • Stephanie Pryor Sunbeam, 2015 Acrylic and micro glitter on canvas over panel 55 x 44 in. 139.7 x 111.8 cm.
      Stephanie Pryor
      Sunbeam, 2015
      Acrylic and micro glitter on canvas over panel
      55 x 44 in.
      139.7 x 111.8 cm.
    • Anthony Lamb Tears in The Rain, 2023 Digital negative print on Hahnemuhle ultra smooth fine art 305gsm paper 12 x 12 in. // 14 x 14 in. framed
      Anthony Lamb
      Tears in The Rain, 2023
      Digital negative print on Hahnemuhle ultra smooth fine art 305gsm paper
      12 x 12 in. // 14 x 14 in. framed
    • David Mohr Array (2), 2016 Acrylic and sand on linen 8 x 10 in. 20.3 x 25.4 cm.
      David Mohr
      Array (2), 2016
      Acrylic and sand on linen
      8 x 10 in.
      20.3 x 25.4 cm.
    • K'era Morgan Canyons Mountains and Islands Come and Gone, 2024 Mixed media on paper 13 1/2 x 10 in. 34.3 x 25.4 cm.
      K'era Morgan
      Canyons Mountains and Islands Come and Gone, 2024
      Mixed media on paper
      13 1/2 x 10 in.
      34.3 x 25.4 cm.
    • Erin Treacy Protective Waters, 2018 Oil, acrylic paint, pencil, Conte, marker and ink on canvas 54 x 54 in. 137.2 x 137.2 cm.
      Erin Treacy
      Protective Waters, 2018
      Oil, acrylic paint, pencil, Conte, marker and ink on canvas
      54 x 54 in.
      137.2 x 137.2 cm.
    • Amelie Ducommun Sensitive Water Mapping #15, 2019 Mixed media on canvas 38 1/4 x 51 1/4 in. 97.2 x 130.2 cm.
      Amelie Ducommun
      Sensitive Water Mapping #15, 2019
      Mixed media on canvas
      38 1/4 x 51 1/4 in.
      97.2 x 130.2 cm.
    • Anthony Lamb On the Beach, 2024 Digital negative print on Hahnemuhle ultra smooth fine art 305gsm paper 12 x 12 in. // 14 x 14 in. framed
      Anthony Lamb
      On the Beach, 2024
      Digital negative print on Hahnemuhle ultra smooth fine art 305gsm paper
      12 x 12 in. // 14 x 14 in. framed
    • Chase Langford Malibu, 2025 Oil on canvas 72 x 120 in. 182.9 x 304.8 cm.
      Chase Langford
      Malibu, 2025
      Oil on canvas
      72 x 120 in.
      182.9 x 304.8 cm.
    • Bruna Stude WATERLINE NO7, 2016 Platinum/palladium prints on Arches Platine 310 gsm paper 40 x 30 in. 42 x 32 in. Framed
      Bruna Stude
      WATERLINE NO7, 2016
      Platinum/palladium prints on Arches Platine 310 gsm paper
      40 x 30 in.
      42 x 32 in. Framed
  • Press Release

    NAVA Contemporary is pleased to present Reflections of the Natural World, an exploration of the intricate and ever-evolving dialogue between nature and the human imagination. In this exhibition, artists turn their gaze outward—toward landscapes, ecosystems, and organic forms—and inward, examining how the environment shapes our inner lives, memories, and sense of belonging. Selected artists include: David Burdeny, Amelie Ducommun, Anthony Lamb, Chase Langford, Fernando Mastrangelo, David Mohr, K’era Morgan, Stephanie Pryor, Brune Stude and Erin Treacy.

    Through painting, sculpture, photography and mixed media, the artwork in this group exhibition mirrors nature not just in form, but in feeling. While some pieces offer serene encounters with untouched environments, others respond to ecological change, fragility, and resilience. Together, they offer a prism through which we can reconsider our relationship to the living world.

    David Burdeny's haunting and deeply evocative aerial photographs deconstruct the relationship between man and nature. Geometric patterns and amorphous, sinewy shapes create graceful and vibrant abstract compositions that belie a provocative narrative about man's impact on the natural world. The powerful interplay between color and light, coupled with a remarkable sense of spatial infinity, captures the transcendent experience of seeing nature as art.

    Amelie Ducommun’s deeply textured and layered paintings address the behaviors and visual qualities of marine environments. The core of her practice seeks to uncover the rhythms, echoes and hums of different ecologies and translate them into a visual experience.

    Anthony Lamb's photography is based on a minimalist approach that aims to reduce distraction by eliminating objects that sit outside the main subject. This simplicity opens the door to self-interpretation and emotional connection, similar to that of abstract art, making the photograph more intimate. Traveling to locations such as the Alps, Africa and Highlands of Scotland when he was younger gave him an appreciation of large open spaces that is seen throughout his practice.

    Chase Langford has developed a distinctive visual language that is grounded in the natural and built environment while embarking into uncharted territory. His paintings recall maps and aerial photography of sea coasts, mountains, farmland and cities.

    Fernando Mastrangelo's striking sculptures occupy a fluid space at the convergence of art and design. The artist uses materials common to quotidian life but entirely atypical of fine art, including salt, coffee, sand, glass and cement. He then combines the raw materials with resin, and other industrial components, to create deeply textured and evocative works.

    David Mohr’s stark and evanescent canvases are created through a combination of techniques, tools and elements, including the selective use of charcoal, sand, acrylic gel and ink. Central to their composition is a complex spatial quality, at once suggestive of depth and flatness.

    K’era Morgan’s multi-media works are guided by intuition and mindfulness. Her collage/paintings are colorful and expressive, featuring gestural strokes, mark-making and various found papers representing ephemeral thoughts. Every ripple in the paper or the choice to use a variety of materials replicates life which is rarely black and white or uniform or void of texture.

    Stephanie Pryor’s paintings explore the line between abstraction and representation, both physically and psychologically. Her “alphabet” is based on animal, nature, and female body imagery, but more importantly it is extremely personal and experiential.

    Bruna Stude documents oceans and wildlife around the globe through her deeply evocative and entrancing photographs. Her recent work features empty oceanscapes, providing a poignant commentary on human impact to the natural world.

    Erin Treacy's work features fantastical, amorphous figures that take inspiration from the natural world. Her fluid linework and vibrant color palette evoke flowers, fallen tree boughs, insects, and underwater crustacean.

  • Artists