The installation Journeys Back consisted of four individual vitrine style, Plexiglas-fronted cabinets. The cabinets were mounted next to one another in a row on a bare concrete wall in a darkened space. Each vitrine contained a different colour photograph of a hunting tower, borrowed from my photographic series Hunting Towers. Each cabinet was fitted with a bare light bulb. On the bottom of each vitrine and under the photographs of the hunting towers, was a small mound of Swedish soil that I had brought over from Sweden. I placed grass seeds in the soil and watered the soil before sealing the vitrines. The lights were on a timer, providing 12 hours of light and heat, followed by 12 hours of darkness. Over the course of the three-week exhibition, the grass seeds sprouted and grew inside the vitrines on the wall.

Contained, three-dimensional landscapes grew inside the vitrines in the form of miniature hills, placed in relation to the flat two-dimensional photographs pinned to the back of each cabinet. A strange sense of depth occurred, as if the two elements of the mound and the hunting tower, the image, were to scale or at an actual distance from one another. This banality was gradually yet increasingly emphasised throughout the course of the exhibition, as the grass grew and the strands of grass grew out of proportion to the image in the background. The sense of perspective and perception of scale consequently became more and more distorted: the landscape seemingly near, yet distant; and forms of layering layering where one element is both part of and separate from another one, part actual, part imaginary, both/neither present and/nor absent, emerged.