The photographs in Long Shadows emerge from a world drained of detail and certainty. Rendered in black and white, their blurred edges and soft grain turn high‑rise buildings into looming silhouettes, with structures that feel less like feats of engineering and more like apparitions. The images hover between presence and disappearance, as though the city itself is slipping out of focus. In this haze, familiar forms become uncanny: towers lean into the frame like watchful sentinels, facades dissolve into fog, and the built environment takes on an almost mythic weight.

Presented as gelatin silver and digital inkjet prints, alongside carved wood sculptural works, the series reconsiders the skyscraper—long celebrated as the apex of modern ambition, a monument to wealth, progress, and technological mastery. Here, those same structures are recast as uneasy icons of the twenty‑first century. Their height no longer reads as triumph but as estrangement. Their shadows stretch across landscapes marked by environmental exhaustion and widening economic divides.

Long Shadows positions these buildings as evidence of a civilisation increasingly detached from the natural systems that sustain it. Their sheer verticality becomes a metaphor for relentless extraction, for the upward surge of capital that leaves ecological and social costs in its wake. The blur in the images is not merely aesthetic; it suggests instability, a world out of alignment, a future that refuses to resolve into clarity.

The accompanying wood sculptures echo this tension. Carved from organic material yet shaped into geometric forms, they sit at the threshold between the natural and the manufactured. They act as quiet counterpoints to the photographs and are reminders of what is taken, transformed, and often forgotten in the pursuit of growth.

Together, the works invite viewers to reconsider the skyscraper not as a symbol of human achievement but as a monument to imbalance. In their atmospheric darkness, these buildings reveal the long shadows cast by our aspirations: shadows shaped by disconnection, by the limits of progress and by the fragile, contested ground on which our cities stand.