ABSTRACT
In his recent book Imagining Eden, Lyle Gomes observes of his collection of panoramic landscape photographs that in a deep sense, all the images pursue that fundamental quest for a primal nature in which we belong—though they record a number of different places. 1 Selecting among these beautiful photographs, we may construct a continuum from the ascent of a sculpted angel out of the verdure, through photos of draped human figures standing guard in a tunneled wildness, to images of heroic figurative sculpture and attendant benches promenading through an arcade of shaped trees, shifting then to a carefully framed dormer marking out inhabitation within a low roof set among foliage. The progression may culminate in a round, room-sized keep—a surrogate human presence in the larger landscape. These may be seen as talismans of primary ways that people imagine their relation to place [3–1A, 3–1B]. Apollo, Rousham Park, England, 1998.
[Lyle Gomes, Imagining Eden]
https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9781315881157/9d2e583d-d92a-4a08-a15d-2619fc8f6113/content/fig3_1a_B.jpg" xmlns:xlink="https://www.w3.org/1999/xlink"/> Veduta, Villa Serbelloni, Bellagio, Italy, 2002.[Lyle Gomes, Imagining Eden]
https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9781315881157/9d2e583d-d92a-4a08-a15d-2619fc8f6113/content/fig3_1b_B.jpg" xmlns:xlink="https://www.w3.org/1999/xlink"/>