Aerial views of surveillance photography and replication of print media are antiseptic placebos of intimacy: unnatural modes of viewing that have become instantaneously familiar, an essentially indifferent way of experiencing the world. Skreber doesn't strive for photorealism, yet his work borrows from the tropes of mechanical reproduction. Translated into painting, these devices are uncanny. Untitled, a spectacle of catastrophe, becomes a cerebral deliberation of poetic form through Skreber's intervention.