Ovtas Ter is titled combining native Lap and Latin words, borrowing from lost spoken languages, Ovtas is a native Laplandic word for being together, and Ter is Latin for three. The title refers to space where science and myth meet: three visual stanzas in the connected series, as well as three different elements in the landscape. The first photographic element is a natural space connected to the physical scientific world, the second being a composed landscape of a cultural story. The final component is a narrative of a journey, searching for a lost ancestral remembrance.

These constructed landscapes incorporate a three-part photographic novella exploring themes of myth, ecology, and wildness. Starting with the star-scape light installations in Northern Europe's boreal forests, this interconnecting series visually resonate like a harmonizing chord. While loosely inspired by my son's storybooks and our connection to the forest while living in the Black Forest region of Germany and remote Sweden. Each series tells a different journey about a natural space and memory connecting to a psychological place. Evident in the snowpack in these photographs, Ovtas Ter challenges ecological impact subtly by exploring a more ephemeral space connected to myth, spirit, and loss.

Upon first glance, it might be hard to note these photographs are in the camera lens constructions only. In Ovtas Ter I Polaris, the lights in the forest images twinkle like stars photographed in the forest in the last moments of twilight. These photographs are like a compass searching for unseen constellations. In Ovtas Ter II Salvia, these images reference archaeological findings of flower-lined graves as humanity's first conceptualized objects representing a loved one passing. Ovtas Ter III Totem includes portraits of my son and places where we lived near the borders of the German Wald. The connecting polyptych images build a sense of cinematic-time, visiting themes of remembrance in an inner-felt place.