Representational landscape painting in the Anthropocene must account for threat. My recent paintings are concerned with the re-presentation of historic American landscape paintings painstakingly copied in oil paint, then interrupted with climate-aware illumination in the form of fire. The paintings interrogate the problematic relationship between beauty and threat, history and experience, and the axis of humor and tragedy that aggregates to a shared human experience of living in late-stage capitalism. Here, in this time, dislocation and heartbreak have concretized into a new homeworld. My reaction is to illuminate the problem like a manuscript and cope — utilizing my knowledge of traditional painting and a pointed sense of the absurd. Material solutions germinate in the dark of the subjective, and it is the collected subjective and our place in history that concerns me- if we do not course correct we could be among the last generations of landscape painters.