I chose monochrome. Blue and green fill every postcard, every nature documentary, every climate report cover — colors that make nature comprehensible and familiar. I wanted something closer to the truth.

The icebergs. I moved among these forms for days. Up close, they no longer resembled ice. Their surfaces — dimpled, rippled, carved by wind, suspended between object and apparition.

What surprised me was their scale. No photograph can prepare you for that. In one frame, faint traces of human settlement appear — a cairn, a tower, a barn — barely legible against the ice.

I wanted the viewer to shed the distance of a spectator. To feel the cold through the frame. To stand next to something that has existed for centuries and simply — be small.