Breezewood, Pennsylvania, USA, 2008

Edward Burtynsky, Breezewood, Pennsylvania, USA, 2008.
Standing on a lift mounted on the bed of a truck parked on a hill, Burtynsky records what appears to be a dense commercial strip like countless others along the U.S. Interstate Highway System. Breezewood, Pennsylvania, USA is a pivotal work in the artist’s Oil series, 2006–13, a sprawling project documenting the non-renewable resource’s life cycle—from extraction to consumption.

Edward Burtynsky, Alberta Oil Sands #9, Fort McMurray, Alberta, Canada, 2007.
Taking full advantage of Burtynsky’s signature sharp focus, the photograph presents a sociological portrait of American life at the dawn of the twenty-first century. Packed with corporate logos, each sign remains legible across the full depth of the frame—a prominent example of Burtynsky’s infinite depth of field.
The setting of the work is unlike anywhere else in the United States: it is an autonomous commercial hub independent of an incorporated town. (In fact, the nearest municipality, Everett, Pennsylvania, is eleven kilometres away.) Nor is Breezewood a rest stop or service plaza as these are considered part of the Interstate system where commercial development is forbidden. In fact, Breezewood is the only place in the United States where two major highways—Pennsylvania Turnpike (I-76) and Interstate 70—meet without an interchange. Drivers wishing to change directions are forced to traverse a gauntlet of traffic lights, filling stations, restaurants, motels, and souvenir shops.
For thousands of years, this banal “tourist trap” was an important travel corridor for semi-sedentary Algonquian- and Iroquoian-speaking peoples. It belonged to a network of routes known as the Great Path that ran roughly north-south through the Appalachian Mountains. After European settlement, colonial roads gradually replaced the traditional Indigenous trails. There are no longer any federal or state-recognized tribal nations in Pennsylvania.
Centuries later, this historically significant corridor has been fully absorbed into the infrastructure of the modern oil economy. The dense accumulation of the familiar corporate signage of fuel brands, fast food chains, and roadside services renders visible a system that is typically experienced as seamless and invisible. In Breezewood, oil is depicted through its endpoint: consumption as habit, convenience, and necessity. Burtynsky’s elevated vantage point and exacting clarity exposes how deeply the oil industry underwrites patterns of commerce and settlement. What appears at first glance as a generic roadside stop is, in fact, a concentrated expression of energy dependence, layered onto a site with a much longer history of passage, exchange, and displacement.
Gallery

Edward Burtynsky, Railcuts #1, C.N. Track, Skihist Provincial Park, British Columbia, 1985, chromogenic colour print on paper, 68.7 x 86.6 cm (image).

Edward Burtynsky, Carrara Marble Quarries #24 & #25, Carrara, Italy (diptych), 1993, chromogenic colour print on paper, 68.2 x 86.2 cm (image); 76.4 x 101.4 cm (image), National Gallery of Canada, Ottawa.

Edward Burtynsky, Nickel Tailings #34 & #35, Sudbury, Ontario (diptych), 1996, chromogenic colour print on paper, 80.7 x 111.1 cm (sheet); 80.7 x 111.1 cm (sheet), National Gallery of Canada, Ottawa.

Edward Burtynsky, Oxford Tire Pile #8, Westley, California, USA, 1999, chromogenic colour print on paper, 28.6 x 37.8 cm (image); 40.7 x 5.7 cm (sheet).

Edward Burtynsky, Shipbreaking #13, Chittagong, Bangladesh, 2000, chromogenic colour print on paper, 43.6 x 55.88 cm (image/sheet).

Edward Burtynsky, Wan Zhou #2, Three Gorges Dam Project, Yangtze River, China, 2002, chromogenic colour print on paper, 68.6 x 86.4 (image/sheet).

Edward Burtynsky, SOCAR Oil Fields #3, Baku, Azerbaijan, 2006.

Edward Burtynsky, Breezewood, Pennsylvania, USA, 2008.

Edward Burtynsky, Pivot Irrigation #7, High Plains, Texas Panhandle, USA, 2011, chromogenic colour print on paper, 107.2 x 304.8 cm (image/sheet).

Edward Burtynsky, Phosphor Tailings Pond #4, Near Lakeland, Florida, USA, 2006, pigment inkjet print on Kodak Professional photo paper, 148.59 x 198.12 cm (image/sheet).

Edward Burtynsky, Pengah Wall #1, Komodo National Park, Indonesia, 2017, pigment inkjet print on Kodak Professional photo paper, 121.9 x 218.4 cm (image/sheet).

Edward Burtynsky, Tailings Pond #2, Wasselton Diamond Mine, Kimberley, Northern Cape, South Africa, 2018, pigment inkjet print on Kodak Professional photo paper, 99 x 132.08 cm (image/sheet).

Edward Burtynsky, Natural Order #33, Grey County, Ontario, Canada, Spring, 2020.

Edward Burtynsky, In the Wake of Progress, 2022.