The first image Seattle-based photographer Josh Poehlein made for his series Hinterland is a vertical photograph of people walking up a barren sand dune. One of the few images in the series that contains a human presence, it suggests a journey into an unknown void, an infinite, open-ended reality, and in some ways serves as a linchpin for the entire project. The work, a mix of sculpture and studio-based photographs of stars, interstellar abstractions, and natural phenomena paired with images of the Pacific Northwest’s sweeping natural landscapes, raises questions about time, space, and photography’s ability to reconcile it all.