Cynthia Daignault, High on a Rocky Ledge, 2026, oil on linen, 72 x 96 inches, 182.9 x 243.8 cm. Photography by Vivian Marie Doering.

For her latest exhibition, Daignault takes a single subject, Denali, and deconstructs the Alaskan mountain across hundreds of canvases. Denali, meaning ‘The Great One’, is the highest peak in North America and a contested symbol of American exceptionalism, white supremacy, and frontier mythology. The mountain also stands as a grand reminder to the existential threat of climate change, a theme which weaves throughout the show. As Arctic regions are warming at a rate four times faster than the global average, the mountain is simultaneously a symbol of our country’s majestic wilderness and of its impending collapse. The exhibition features eleven new paintings, including the artist’s latest monumental work: a 300-panel, 24-foot-long portrait of Denali, which explores this binary between beauty and loss.

Daignault paints in the post-digital world, echoing the hyper-mediated experience of contemporary life by referencing digital photography, social media, augmented reality, and internet image arrays. All the works in this show are multipartite, engaging the digital syntaxes of clone, dupe, copy, paste, glitch, crop, and delete. Daignault’s refusal to present a single scene stands in poignant contrast to the canon of American landscape painting born from the Hudson River School. Instead, Daignault posits an expansive version of reality, where representation unfolds serially across time and space, rather than in one single sublime moment. Painting becomes a means to organize and slow the ceaseless flow of images and time, to meditate on acts of memorial and remembrance, and to capture, according to the artist, “what it means to be alive at this specific moment in time.”

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