The darkness and reflectivity of the surface of an oil painting can simultaneously act as a window, transcending the viewer’s environment, and a mirror, grounding their present reality. I reference moments where the human body meets the landscape, including clotheslines, fires, and marks left by the human hand. The abstraction and distortion of these become a lens to think about the strangeness of the act of seeing and processing, and the specificity with which weather and light of the nighttime can influence our state of mind.