As image-makers, we often photograph without purpose, out of compulsion or curiosity or sheer pleasure of seeing reality through a different prism. These personal archives of images begin to pile up and spill out of hard drives. The Landing was a way to ask these ungrounded images, separated by time and intention, to dance with one another—a cannon ball’s messy trajectory from sky to earth, collapsing its subjects into a fortu- itous whole, while holding each blinking frame as separate.
