As maps offer a preview and a guide, usually to unknown places, the romanticism is often inspired, but not forefront, in the visual presentation.

Patchogue Arts Council’s current exhibit (on display until April 23) at the Museum of Contemporary Art on Terry Street, curated by John Cino, titled “View From Above,” provides three unique perspectives on capturing the bold aura of land and sea, with a delicate and alluring interplay between the triad of artists selected.

“Having visited the Grand Canyon, I am sure the experience was awe inspiring… It was now possible to think of the world as not only ‘out there’ along the horizon, but ‘down there’ as viewed from above. Holding multiple ‘world views’ surely contributed to the expanding consciousness of the human lineage,” said Cino in his introduction to the exhibit.

“View From Above” gives us a curated look at three artists who “combine the various ways in which we have come to appreciate the aerial perspective,” said Cino.

Tony Ingrasano, who displays a deep appreciation for Bauhaus artist Paul Klee, “considers the overlay of human industry on the natural environment,” according to Cino.

In one piece, titled “AC6,” the painstakingly designed pieces and colors represent the human industry adapting to the natural bend of the Mississippi River.

Built in layers, Ingrasano first creates a linear painting on paper that is uniformly shredded and rearranged on panel, creating a surface “visually akin to television static or DNA sequencing,” according to the artist.

After establishing the “first map,” Ingrasano goes on to paint what seems to be parcels of farmland sprawling among a riverway.

“But as these ‘farmlands’ grow and proliferate, they begin having conversations among themselves, which privilege visual vibrancy, color theory, and gestalt relationships over accurate recording of what land belongs to whom or how to navigate this hypothetic world,” said Ingrasano.

Hoping his artwork “engages viewers in a conversation about how we make sense of the world, and in particular how visual depictions of information both illuminate and obfuscate,” Ingrasano creates an entire ecosystem that is both in harmony with each other, but vying for practical dominance.

“We rely on visual data to help us navigate our surroundings and the world at large, but no single map tells the whole story. This duality inherent in maps (and all information transference) led me to begin making maps of my own,” said Ingrasano.

With textural and three-dimensional topographic birch layers and two-dimensional painted shadows based on photographs taken while hiking in the Adirondack Mountains, Winn Rea’s pieces in the exhibit provide the visceral half of the mental play of Ingrasano’s work.

“I want viewers to feel enveloped in that space. I want them to feel refreshed, as I do while in the woods. I hope viewers begin to see the connections between the macro view from the sky and the organic patterns that repeat on all levels in the terrain, in water, and even into our own bodies,” said Rea.

Alex Ferrone’s photography creates ethereal, otherworldly images of landscapes that inspire the viewer to travel across the stars while gazing at our own planet’s natural wonder.

“Myth gave way to religion, with gods above who could be persuaded to work on our behalf,” said Cino.

Celestial landscapes captured by Ferrone imply that the world around us was meant for viewings above and that perhaps, as we travel farther away from home, we can better see the beauty of where we come from.