Through cinema-sized landscape paintings, sculptures, and installations, Phaan Howng stages the sublime and formidable beauty of an Earth post-human life, discussing what she terms as an “optimistic post-apocalypse.” Influenced by her sympathy for nature (and disappointment in humanity), Howng’s work deals with the current crises of world ecology and the Anthropocene era. Biological Controls: If It Bleeds We Can Kill It is an immersive environment based on her concept of a nature-built defense system—an organic war chest in which flora and fauna unify to overwhelm, confuse, and to make itself inhospitable should humans reappear. Howng draws influence from the John McTiernan movie Predator, where the roles between humans and the environment are reversed and the environment becomes the Predator and humans are the hunted.