The site that I chose for my photographic essay is Celebration Square, Mississauga Ontario. My site pertains to Anthropocene through the manufacturing of land to create a social urban landscape. The definition of Anthropocene, as I explore, runs parallel with the outlook of Jussi Parikka, which is that “the Anthropocene is a way to demonstrate that geology does not refer exclusively to the ground under our feet. It is constitutive of social and technological relations as environmental and ecological realities.” Thus, the Anthropocene is an interconnection of communication, innovation, and land. This interrelation creates a culture of leisure and industry that not only shapes who we are but also shapes the land around us and how we perceive and interact with nature. Because of this, Celebration Square becomes essential to the study of Anthropocene – detaching society from nature and immersing them in an entertainment culture that stimulates a higher need for consumption, connectivity, and industrialisation; it is cyclical (see fig. 2). Consequently, this space does not facilitate nature and wildlife. The fountain/ water area is man-made and consumes energy, the grass is an artificial turf of synthetic fibres and the animals are pieces of sculpture (see fig. 1). Although the visuality of Celebration Square looks like it could be a micro green-zone (because of the large field and water area), it is more of a simulacrum of nature. Taking into consideration Kevin Loughran’s writing on Imbricated Spaces we can consider a different perspective of looking at the synthesized integration of nature. When analysing the creation of ‘city-nature,’ as Loughran coins, he says, “initial efforts at park creation in Western cities mirrored early sociologists’ ontological separation of “city” and “nature”; Urban parks were to be a sanctuary, an oasis of greenery amid the purportedly deleterious conditions of the industrial city.” Loughran’s concept of urban parks as an idealised construction of nature runs parallel to the manufacturing of Celebration Square’s nature– the grass is perfectly cut, the water is clean and the birds are where they should be. An important detail of Loughran’s discussion of ‘city-nature’ spaces is that he uses the word ‘deleterious’ to describe the conditions of the city and the word ‘oasis’ to describe the greenery. In the landscape of Celebration Square, both elements are present – the harsh environmental conditions from industrialisation that do not support thriving greenery/ animal life and the elements of nature that remain picturesque. Thus, it is no wonder that the elements of nature within this space are a façade for green pastures because it’s not a sustainable environment for greenery (amongst generators, vendor trucks, car shows, concerts, and mass populations trampling land). However, what is seen when looking at this manufactured landscape is a family-friendly/ environmentally friendly space that brings the community together by creating cultural identity. This is what attracted me to photograph this site – how easily it can be mistaken for an environmentally positive space when really it is a site contributing to the epoch of Anthropocene and the rise of capitalism through entertainment and leisure when previously the land was sectioned off for farming.