Heaven Sent looks at rural billboards as a form of information infrastructure that shapes belief long before anyone can respond to it. Along rural highways these signs operate like a one-way interface. They broadcast certainty into landscapes where access to broader media is uneven, which means the information people receive is defined by whoever paid for the message, not the people who live with it.

The photographs pair flawed film with sharp digital images to mirror the two kinds of attention we bring to these systems. Film interrupts, softens, and obscures what tries to present itself as truth. Digital captures the precision of a message designed to be consumed quickly. Stacked vertically, the images echo a scroll, suggesting that billboards function much like the feeds we move through online. Both organize attention; both decide what becomes visible; both rely on repetition to make belief feel natural.

This project grows from my broader interest in how information is gathered, interpreted, and circulated. Just as climate sensing infrastructure can extract knowledge from a place without returning it to the people who live there, roadside media creates its own form of informational extraction. The message moves outward while the community has little control over how it is framed. By rephotographing and reframing these signs, the work asks how belief is shaped by systems that appear neutral but carry the values of those who build them.

The installation invites viewers to slow down, hold a magnifying glass to what normally flashes by at highway speed, and consider the politics of visibility that link physical billboards to the digital architectures that govern everyday life.