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Pigment on pine wood
30 x 30 cm
2024
The Second Fall reflects on rupture, exile, and the damaged legacy of landscape. As photography marks its bicentenary in 1826/2026, the work turns back to one of the medium’s founding impulses: to picture the world and give form to the land. Made with pigment on spruce wood, the piece imagines a second expulsion from Eden, not the first fall from grace, but another leaving, forced by humanity’s own ruinous treatment of the landscape. The wood is not merely a support but a living witness, carrying memory, growth, and vulnerability within its grain. In this sense, falling becomes both spiritual and ecological: a descent into the consequences of extraction, neglect, and environmental loss. The Second Fall asks what it means to inherit a landscape we have already wounded, and whether any form of return is still possible.
Pigment on pine wood
30 x 30 cm
2024
The Second Fall reflects on rupture, exile, and the damaged legacy of landscape. As photography marks its bicentenary in 1826/2026, the work turns back to one of the medium’s founding impulses: to picture the world and give form to the land. Made with pigment on spruce wood, the piece imagines a second expulsion from Eden, not the first fall from grace, but another leaving, forced by humanity’s own ruinous treatment of the landscape. The wood is not merely a support but a living witness, carrying memory, growth, and vulnerability within its grain. In this sense, falling becomes both spiritual and ecological: a descent into the consequences of extraction, neglect, and environmental loss. The Second Fall asks what it means to inherit a landscape we have already wounded, and whether any form of return is still possible.