In a recent text for Artforum about Vivian Suter, Daniel Birnbaum says that her paintings are not about ecology: they are ecology. Suter’s works are a visual and physical manifestation of the place where they are created: the subtropical landscape of Panajachel, in Guatemala. The paintings are ecology because they do not portray a landscape, but are based instead on a long and intimate dialogue with it, in a symbiotic relationship with the rain, wind, mud, humidity, earth, her dogs’ tracks and the canvases. Birnbaum even claims that the landscape is a coproducer of Suter’s works. More than a theme in itself, abstraction is a tool for a greater communion with nature.