My preliminary analysis and results are composed of mainly a variety of collected sources on the debate around the Anthropocene and other proposed “-cenes”. These include Marisol De La Cadena’s “Uncommoning Nature”, Jaskiran Dhillon’s “Indigenous Resurgence”, Donna Haraway’s “Staying with the Trouble”, TJ Demos’s “Against the Anthropocene”, and Heather Davis’s “On the Importance of a Date, or Decolonizing the Anthropocene”. So far, I am not yet in a place with research on artists where I am really delving into how artists work visualize “-cenes”. Because I am familiar with her, I have begun to consider how the work that Mary Mattingly creates in her livable floating habitat sculptures might work as an example of a visualization of the Athropocene. She uses simple, inventive mechanisms and detritus reminiscent of real and imagined post-disaster industrial worlds to create habitable spaces. Her work aligns with TJ Demos’s vision of an Anthropocene rife with continued destructive industrial growth and reliance of technical solutions gone awry. Her structures are equipped to adapt to the climatic changes that are indicative of geologic changes that evident a shift from the Holocene. Many have water purifiers, compost and food production systems, and are able to move from land to water. Mattingly’s work speaks to opinions of the Anthropocene from both scientists and humanists. Considering her work as a visualization of an imagined Anthropocene epoch raises many questions that I am excited to explore further.