The images also reflect the geomorphic tension between nature and culture. Nature’s shapes are evolutionary, stochastic, curvaceous, involuted. Humans, though, cannot resist imposing their Euclidean ideals. In Maisel’s work, the irregular outlines of olive orchards contrast with the fearful orthogonality of their internal grids, each tree identifiable by row and column, like an entry in a giant spreadsheet. Agricultural fields follow the meandering contours of the land, but there is human purpose in the boustrophedonic turns of the furrows—left to right, right to left.
David Maisel’s Geometric Geographies – The New Yorker