Much has been written about Robert & Shana ParkeHarrison, the husband and wife team whose sepia toned photographic tableaus took the art world by storm more than eight years ago. Creating a style unique within the photo world, the ParkeHarrisons construct fantasies in the guise of environmental performances for their nameless character, often referred to as the Everyman. Tapping into their surreal and often apocalyptic imagination, the artists combined elaborate sets, an impeccable sense of wit and irony, to address issues about the earth and mankind’s responsibility to heal the damage he has done to its landscape. In their new work, which introduces color into the palette, the ParkeHarrisons continue to immerse themselves in myth, rituals, and the relationship between man (and new to the work, a young female), nature and technology. In Gray Dawn, a man gazes out at a cold somber landscape, as the silhouette of cooling towers play against the attempted growth of new life in a cup of water; in Mourning Cloak, a swarm of butterflies envelop a man sitting on a bed in an empty room, protecting him from his despair; in Scribe, we see a fabricated tool attached to a man’s hand drawing a line in the heavy snow, a trail of blood left in its wake. In these new works, the artists continue to examine the effects mankind has on the land and the land has on mortality.