The intention with each stone was to create an encounter — something that reflects the complexities of how we interact with the land. Concrete demonstrates this tension: a manmade material, dating back to ancient Rome, that has shaped and interfered with the landscape across time.
It’s a complicated and ubiquitous substance. Made from three basic ingredients — like bread — it begins to cure and solidify the moment they’re combined. If left unreinforced, it slowly breaks down. I’m drawn to this process, to the aesthetics of ruination — and to the human impulse to carve names into surfaces, scarring the land in an attempt to affirm our existence.
Concrete holds a kind of materiality that sits at the opposite end of the spectrum to photography. The image carries its own logic — one tied to consumption. Concrete positions the body; it tells you who owns the land. The photographic image positions your perception; it shapes how you see the land, and what to desire within that view.
First image: Breastagh Ogham Stone
— 54°14'25"N, 9°15'19"W
Mary Louise Grossman, John N. Hamlet, 1988 — Page N° 196
Contact
Challenging institutional representations of the living environment, her work creates encounters that aim to alter viewers’ preconceptions, revealing the complex boundaries that shape human- animal-land relations.
Sint Lucas School Of Arts Antwerp
BA Photography
School Of Creative Arts, TUD Dublin
BA Photography (Erasmus)
Paris 8 University
Bachelor Of World Religions & Theology
Trinity College Dublin
Slip — Page N° 41-42
For A Prince — Page N° 60-61
The title Tremor takes inspiration from J.A. Baker’s literary work, The Peregrine. Reflecting on a delayed appreciation for nature, Baker wrote: “I came late to the love of birds. For years I saw them only as a tremor at the edge of a vision.”
In this work, the artist examines a collective understanding of the natural world through the lens of falconry. This ancient and ongoing practice displays a unique and complex human-animal relationship.
In these images the bird is never fully revealed. It remains fleeting, almost gone—never entirely present on the page. The viewer’s eye cannot fully consume the creature. Meanwhile, human presence is subtly suggested, revealed only through faint details: metal anklets, handmade hoods, telemetry trackers. The perspective shifts between the falconer and, at times, perhaps the bird itself. Inverted images further disrupt the subject matter, reorienting the viewer’s journey and shifting it away from a purely aesthetic experience.
The images are anchored in the index—a textual guide that offers historical and critical insights, grounding the work in a broader ecological context. Temporality is central to the book, which functions as a time capsule, inviting readers into a world that is rapidly fading. Its fragile cover and binding underscore its vulnerability, making it easily damaged. This delicate presentation mirrors the fragility of both the bird and the world it inhabits.
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Author: François Lorrain
Belgium 2011
Hybrid Saker–Gyr Falcons Demonstrating Motion Camouflage
Motion camouflage is a stealth strategy used by falcons, in which the bird appears motionless to its prey during pursuit. By maintaining a constant angle in the prey’s field of view, the predator conceals its approach.
Shown at Sint Lucas, Antwerp 2025
Score by J Colleran