In her exploration of reality, Sarah Anne Johnson amplifies and shifts the documentary effects of photography by interfering in the medium. She integrates into her images a variety of artifices, using techniques ranging from diorama to Photoshop and painting, thus adding to the initial pictures a long process of re-creation of their content. Like alterations of the pure image, the artist’s manual work somehow critiques the utopia of objective information. She works at the intersection of reality and perception. In this sense, she does not limit landscape to its material composition but integrates emotional and physical aspects as well. Her manipulations evoke the sensitive node that acts under the surface of the image; they also articulate the relational issues, complex and invisible, between humans and their environments and communities.