The works in the Ghost Stories series present colourful, vibrant panoramas in which lively organic fragments—excrescences, bits of plant matter, hybrid forms—move around in various ways or flout the laws of physics. In a sense, these worlds are avatars of nature: they stand in for reality by conferring life upon matter, which is suddenly animated and infused with energy networks. Some elements remain in suspension or spin endlessly, while others bump into each other. Flowers unfurl their petals in a continuous cycle of life and death. Although these topographies sometimes contain traces of human life, they are deliberately stripped of people. The result is spectral images—hallucinatory dreams produced by human and artificial intelligence that remind us of the transitory, unstable, and ephemeral qualities of the natural spaces in which we have erected our habitats. McLeod’s quirky, “pop” worlds are a gateway to alternative dimensions in which time and space unfold in nonlinear ways. He delves into the lifecycles of technological artefacts such as video-game environments and explores what happens to pixels, codes, and other digital entities once their practical life is over. In Ghost Stories, which offers a reflection on the future of natural and media environments, McLeod highlights the need to broaden our conception of landscape—whether real or simulated—and envision its transformative power over our perception.