State Shift is a geological term describing dramatic and sudden changes to ecosystems — often when critical thresholds are crossed. I experienced one form of this catalyzing phenomenon in early 2024, when an extreme weather event caused extensive damage to my home. The works in State Shift were made during this time of displacement, which I used as an opportunity to explore national sites highly compromised by human intervention. These include Miami Beach, FL, considered a “ground zero” of the climate crisis, barraged by recurring storms and threatened by rising sea levels; and the former town of Moncton, WA, which was completely submerged in 1915 when an ill-advised dam was constructed to provide Seattle with power and water. 

“Marking an important breakthrough in her practice, State Shift sees the introduction of new pigments and gestures into Riepenhoff’s process. The signature inky indigos and glacial blues of her cyanotypes are transformed with vivid flashes of green, coral, magenta, and shimmering metallic hues, the result of organic materials (mica, mushroom ink, and gingko chlorophyll) and manufactured pigments (a nod to the human presence in the landscape). Striking colors and patterns branch and bloom across the paper’s surface, calling to mind both natural forms — the movement of water; webbing rivers and streams; mycelial networks, underground roots, and algae blooms — as well as the gestural flourishes of sumi ink paintings.

Riepenhoff’s increased mark-making in State Shift draws attention to these devastating effects of climate change. She flings pigment onto paper, uses her breath to move liquid media, drapes paper across carved earthen contours, and presses her hands onto the surfaces of her works. Her actions serve as an allegory for the human impacts on the landscape. They are also gestures of protest against the systems of power and policies that drive these changes, and an attempt to reconnect with the landscape itself.” – Haines Gallery