All I thought / I loved, Kevin Beasley’s fifth exhibition at Casey Kaplan, recasts his relationship to landscape through a years-long inquiry into the inherited and regenerative resonance of a site. Set in part on his family’s century-old property in Valentines, Virginia, the exhibition renders image, material and memory in oscillating focus. Newly developed techniques trigger a different mode of remembering, grounded in shifting conditions of light and color keyed to the time of day, and as intuited landscape that is sensed rather than fixed in view. Across a new body of resin paintings, video, cotton-based and cast resin sculptures, landscape is not rendered so much as it is built to surface—an accumulation of atmosphere and lived experience, slipping between physicality and illegibility.

In the adjacent gallery, three films mark a further unfolding of Beasley’s practice, where sound—long a central element—and image give form to his abstracted landscapes. a song for the birds, a feature-length projection, centers on a durational ritual. Filmed first in his studio in Long Island City, NY, Beasley methodically carries out a sequence of actions: transporting everyday tools and objects—a bucket, a ladder, a pool filter—one by one, arranging them into a tableau against the studio’s white wall. Taking a seat at the keyboard, Beasley performs a song. The scene then shifts to a verdant landscape, where the gestures are repeated in sequence, the objects placed in identical positions, and the same song performed. The tone shifts in the natural light, as sound carries differently in the open air.

A short film streaming on a loop depicts a man walking across a field on the family property. His pace is unhurried, deliberate–his body carrying age and endurance. Portraying his father–a first for the artist in such a direct register–Beasley gestures at a lived inheritance shaped by generational, proprietary and at times contested ties to land. Two hornet nests found on the property are cast in resin, one in a saccharine red hung from the ceiling. These forms of vitality and containment are suspended in preservation; a living structure transformed into a monument. Here, landscape is held in material and carried in the body.