The early romantics established a relationship with nature that lingers in western society. This sustained perception isolates humanity at a vantage point well above animal and plant life. One can recall the Caspar David Friedrich painting, Wanderer above the Sea of Fog, where the romantic figure towers above a vast scape. The symbols involved position the human being as transcended from animal and the restraints of nature. They supply the individual with dominant agency. Sometimes, this will crystallize into a caretaker’s role where one works to preserve organic systems. More than likely, however, it gives permission to harmful culture and behavior, such as exploitative industry. My piece readdresses the relationship between human and nature with a conscious avoidance of romantic symbols. I chose to camouflage the human figure in a texture that clearly belongs to its surrounding biology. Similarly, the human figure rests in an asymmetric composition, indicating merely a presence and not a hierarchy. Its age also remains ambiguous - somewhere between infancy and infirmity. Often, the fear of death creates enough anxiety to maintain the transcended human as a mental object. This functions simultaneously with fluidics, recycling and growth, which are dealt with in the style and content of the piece.