Where animal sentience, human culture, and geologic materiality seem to conjoin, landscapes ricochet between the Earth’s dynamic self-regulating forces and our own. A daughter of settler-teachers, born in LA, I grew up in rural Nebraska, under prairie skies where the nineteenth century seemed as close as skin. This experience of layers or doors in time in 'empty' sites shapes my practice. Drawing's attentive registration of resonating fields in a place offers a capacity or scope of operation. Collage develops a language of the fragment, analog sister to memory and story. As a reader, I translate like a maker of maps. The paintings are like predictive embodiments of a space that exists in a tense, or mood, of the future perfect. It will have been this way...!? "Visually speaking, McPhee's fields of resonance transcend any evocative association with a geomorphological feature, embodying the reciprocal influence between a tectonic substrate and its atmospheric canopy, to suit a comparison with a seismological event of significant proportions...Juxtaposed and overlapped, layers of paint imbue her compositions with a topographic quality that evinces the inspiration they draw from natural landscapes. Rugged and shattered, these strata appear galvanized by telluric forces...Even though all of McPhee's artistic practice "is about a place," as she admits, these considerations elevate its significance to a global level. Indeed, places and their critical realities intermingle in her work, but the ripplescreated by the latter extend beyond any particular geographical context. Emphasizing that truths are relative, uncertain, and endure in non-fixed scenarios, McPhee's art concretizes what Glissant calls "trembling thinking": (...) 'The world trembles and our thinking must adapt to this trembling. We must try to follow these tremors and perhaps we will discover more truths than we do today.'" - Silvia Perea, in Christina McPhee: Terremoto, LUMart, autumn 2023