Andrew Reed Gallery is pleased to announce Far Lands, German-born, London-based artist László von Dohnányi’s second solo exhibition with the gallery, opening next Saturday, April 11th from 6-8pm in Miami.

Far Lands takes its title from one of the most infamous glitches in Minecraft. In the game’s early versions, players who travelled far enough from the world’s origin would encounter a terrain-generation error known as the ‘Far Lands’: a zone where the underlying mathematics of the world began to collapse. Rolling hills and coherent biomes gave way to impossible vertical escarpments, stretched and fragmented blocks, razor-sharp cliffs, and jittering, unstable formations that felt at once corrupted and cosmic. The horizon dissolved; the world no longer behaved as it should.

In this exhibition of large-scale oil paintings, the ‘Far Lands’ become both metaphor and method. The works explore landscape not as a fixed site to be depicted, but as a meta-subject shaped by mediation. Drawing imagery exclusively from online sources – video games, films, 3D scans, satellite views, and drone footage – the paintings reflect how contemporary experience of the environment is increasingly filtered through technological systems. Images often precede lived encounter, arriving pre-assembled and encoded with structures of circulation, power, and control.

Rather than offering a single, stable viewpoint, the paintings construct spaces that feel overlapping, unsettled, and in flux. Earlier compositions remain partially visible beneath subsequent layers of paint, creating surfaces where multiple perspectives coexist and compete. Scenes drift in and out of legibility, as if buffering or failing to fully render. The result is a landscape caught in transition: not fully natural, not entirely synthetic.

For example, in the painting Touch Grass, the dominant vista is a screengrab from the 2002 sci-fi thriller Signs, specifically the scene in which the characters first enter a crop circle created by unknown forces. The image of cornfield plants bent in an unnatural manner evokes a distinctly unsettling feeling. The crop circle motif carries strong connotations, particularly within online culture, where it is often associated with conspiracy theories and speculative narratives. Beneath and alongside this central image are additional vistas drawn from different source materials. Together, they form a fragmented whole, an intentional inconsistency in which multiple visual languages are compressed into a single space. At first glance, it is not immediately clear what the viewer is looking at. The images chosen for these paintings often depict thresholds; unstable moments or scenes that embody tension, transition, or juxtaposition.