A study in balances, Cader’s body of work exists between presence and absence, substance and surface, the part and the whole. Expanse of white on paper or unmarked canvas appear frequently in his work, which almost always rejects the rectangular frame, quietly dissenting with the traditional Western artistic norms. And with this protest Cader not only questions the ownership of the painted landscape but that of the land itself. Reclaiming the practice of landscape painting as a site for identity, Cader imparts a unique personal perspective on what has been largely a rigid artistic tradition. Pushing past the tyranny of a single viewpoint, he moves toward a constellation of perspectives – a kaleidoscopic view that leaves room for interpretation, uncertainty, and a shifting, but ever-present, relationship with the land.