Heaven Sent considers the roadside as an interface, a scroll of conviction and repetition stretched across the South Dakota landscape. Shot on both flawed 35mm film and crisp digital, the paired photographs reflect two forms of attention: one marked by imperfection, the other by precision. Stacked vertically to mimic the motion of digital scrolling, they echo how we now consume belief, not as singular encounters, but as a feed of certainty designed to be seen, not questioned.

The first installation, shown in South Dakota, presented the images as business card sized prints framed with an accompanying magnifying glass, inviting viewers to search for legibility within the message. The work continues to evolve as more photographs are added, expanding its meditation on faith, visibility, and the quiet persistence of belief across the landscape.