To create her paintings, Webster fuses VR technology, penned sketches, and scans of hand-made sculptures. She translates her digital dioramas to the painted plane, integrating inventive means to advance the genre of still life. With both digital and analog tools, Webster expands on the rich history of artists commandeering technologies, such as the Claude glass or camera obscura. By building an entire set in virtual reality, Webster expands the planes of her enveloping paintings. Her landscapes take on an immersive quality, like a proxy for reality, becoming avatars of the natural world. The unsettling panoramas in That Thought Might Think intertwine the material and the virtual, where the bounds of reality become increasingly elusive. In an era where seamless technologies chase the knife’s edge of sentience, Webster highlights the urgency of our relationship to the natural, the simulated, and the real.