During a “virtual hiking” mishap I discovered that it was possible for the user to penetrate, or “punch through,” the thin layer of data rendering the digital landscape. By hacking the virtual terra incognita of inaccessible, geologically rich mine and quarry landscapes in Google Earth’s 3D map renderings, my later paintings from the series are composed from these source images which offer a perspective that is both behind and within the scene of the digitally rendered landscape. The paintings are a catalyst for the viewer to consider living in the time of hyperobjects. While no single hyperobject can be represented, my paintings present a framework through which the complexity of hyperobjects can be understood.