Ranging in size from three to six feet square, they balance earthy physicality with otherworldliness—we could be looking at views of the earth’s core or outer space.
"[8] In reference to the same series of work, Taylor Glascock of Wired wrote: "Instead of making pictures with a camera, she creates fascinating textures and patterns using black and white photo paper and chemicals in an obscure process that's just a bit dangerous.
"[10] Jeremy Lybarger of Art in America called her series of large-scale bromoil prints depicting landscapes of Mars taken by the Opportunity rover "an affective combination, one that echoes the juxtaposition of technology and human intervention.
"[11] Collector Daily highlighted Nelson's Tintype series as "muted, ghostly images [that] shift and turn in sequence, like they are emerging from fog, their object quality and physical presence becoming important parts of how we address them.
"[12] When asked about her revisiting of traditional photographic techniques in an interview in Aesthetica, Nelson highlighted the value of what are commonly considered anomalies in the chemistry for her practice: "I, in turn, go to great lengths to create these failures.