“The Spanish images are quieter, revealing the ravages more ambiguously, partly because the human interventions appear less directly invasive, but also because of Maisel’s evolving use of aerial perspective. But the result is that they may reflect a contemporary condition in which environmental catastrophe is too enormous to parse. It’s difficult to interpret the source of the curlicue Brice Marden-ish crop circles in The Fall (Borox 6), 2013. The rounded grid in The Fall (Vicalvaro 3), resembles an ancient civilization on the moon, though the artist’s website describes it as an area outside Madrid where development stalled due to 2008 economic collapse. Maisel’s best works result when this kind of descriptive information merges with the disorienting beauty of a heightened perspective.”
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