On the corner of 12th and Marion, right across from Seattle University’s campus, sits the Photographic Center Northwest (PCNW). The unassuming building serves as a gathering place for local photographers, experienced or brand new to the art form. The center offers classes and workshops for anyone with an interest in photography as well as offering darkrooms, studio spaces and other facilities available to the public. Additionally, the PCNW hosts a rotating photography gallery showcasing work from artists across the country.

Currently on display is New York-based artist Victoria Sambunaris’ exhibit “Traces of the Manifest,” a collection of work inspired by the desert landscapes of Texas and Southern California. Large prints showcase desolate, expansive landscapes that invite the viewer to let their eyes wander through the scene as if they’ve become lost in the sand and canyons. Others admire the details of desert life, showing close-ups of colorful crystals or portraits of people and their homes.

“Traces of the Manifest” utilizes a large amount of negative space around each photo, letting the vivid orange sands and blue skies stand out against the neutral gallery walls. This detail is one that Macsen Baumann, facilities manager at the PCNW, appreciates about the exhibit.

“Compared to the last show that we had in here, and honestly a decent number of our shows, it’s kind of subdued. It’s a little more minimalist in its arrangement and how many pieces there are inside and stuff like that,” he said. “We often have just tons of stuff hanging on the walls, which is cool. But there’s some space here, which is nice.”

According to Baumann, another aspect of the exhibit that is unique to a typical PCNW showcase is the variety of mediums on display. In addition to photography, viewers can watch a 30-minute documentary showing clips from Sambunaris’ time traveling, giving the raw and organic backstories of her photographs. 

Also on display is a collection of trinkets and ephemera collected by Sambunaris throughout her travels. Maps, crystals, annotated books and photographs clutter a case near the center of the gallery. These details allow a more personal side of the work to come forward, reminding the viewer that there’s a human behind each photograph. 

The gallery also offers a copy of Sambunaris’ upcoming book “Transformations of a Landscape” for guests to look through. Collecting similar photographs to those on display, the book further explores human interaction with nature in rural, desert areas.

“One of my favorite things about this exhibition is actually the book,” Twyla Sampaco, an administrative associate for the PCNW and local photographer, said. “It’s really well done. We actually got the first few copies of it. It has all these beautiful gatefolds and additional booklets. It’s just got a lot of good things.”

Interactive elements, like the collected objects and Sambunaris’ book, help to draw in guests and allow them to engage more deeply with the art. This was the case for First-year Psychology Major Maya Stefanovic, who was particularly inspired by Sambunaris’ journal.

“In the journal she was talking about how she was really excited to visit these really amazing places. But she easily got overwhelmed and frightened because of the environment there, because there’s a lot of big crowds of people with big Trump flags and big redneck opinions. It was really interesting to look at the relationship between nature and the culture there,” Stefanovic said.

This undercurrent of political turmoil and human interaction runs through much of Sambunaris’ work. Photos that initially seem entirely natural may reveal litter and oil spills when examined more closely. Throughout it all, however, there is a deep appreciation for the beauty of these sprawling landscapes.

“I always forget to appreciate desert landscapes. Growing up in Washington, I feel like I really only tend to look at the greenery and all the trees and stuff. But there is beauty to deserts too,” Stefanovic reflected.

In addition to the exhibit, Sambunaris recently hosted a photography masterclass at the PCNW that, according to Baumann, was “very well attended.” The event allowed local artists to learn from Sambunaris’ expertise as well as strengthen the connections between photographers who have studied or created at the PCNW.

Victoria Sambunaris’ exhibit “Traces of the Manifest” can be viewed for free at the PCNW until December 15.