The current exhibition at the Old Schoolhouse Gallery, by Iris Steigemann, is an expression of Topophilia: the affective bond between a person and a place. The art works of Adrift above the Arctic Circle are symbols that have the power to suggest the whole. The whole of a place–with no editing, shaping, distorting through politics, commercial interests or customs. In our daily lives, primary experience is often screened by multiple layers of distortion, yet art can clear this fog. Here are some ways in which I think Iris has met this critical challenge of clear seeing.