One of the central series in Pepperstein’s career, The Human as a Frame for the Landscape inverts—both verbally and visually—the classical painterly composition that places the human at the center of any landscape, adjusts perspective to the human figure, and positions wild nature, with burbling waterfalls and rocky cliffs, behind it. Here, on the contrary, the human merges with and dissolves in the landscape, becoming a part of it. For Pepperstein, this is a nod to the psychedelic experience and anyone who has ever lived it (even Goethe’s Young Werther rediscovers the wonderful life of bugs and flies at a moment of extreme emotional experience and literally becomes part of the landscape around him).