Abstract
ABSTRACTThis article presents an argument concerning the now widely denigrated genre of landscape painting, in which context the author's practice takes place. Landscape drawing and painting is argued to be viable and supportable by an alternative critical and philosophical paradigm that is a-historical in approach. The components relevant to this article are mainly space and morphology. Consideration of these leads to a proposed aesthetic category: The morphological sublime, to characterize my aspirations in drawing and painting.
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