Facing the Rock
Key art
The frame
The print is the niche and nothing arranged around it to make the sentence kinder. Yellow clay. A skull sealed into the salt. A coin grown into the left eye, with veins of gold in the bone. No path in the foreground to tell you how to arrive. If An Eye for an Eye leaves the screen as paper, it leaves as this.
The sheet is large enough that the hill can be weather, not a texture. The niche sits where the clay opened, not where a designer would put a subject. No title in the sky.
What it is not
It is not the coin on a shelf. That object has its own room, The Warm Coin. It is not a poster for a screening. The screening has a room. One frame. The edges are the edges of the clay, not of a campaign.
People will ask what it is a picture of. The answer is a sentence: you do not bury someone facing a wall. If that answer feels incomplete, the print is doing the work.
Paper
Dark stock, but the clay has to stay yellow. The gold is a small event in a large hill, or the picture has lied about the scale. No border that pretends the niche is a window you could open.
Hang it where a path would have been. There is no path. That is the point of the paper.
The door
The room is An Eye for an Eye. The order is The Order of the Hill.