New York-based photographer Rebecca Reeve began working on her series Marjory's World during a residency in the Everglades. It draws inspiration from a practice in 1600s Holland: During the wake of the deceased, it was customary to cover all the mirrors, landscape paintings and portraits in the home with cloths. It was believed this would make it easier for the soul to leave the body and subdue any temptations for it to stay in this world on its final journey. The ritual seems, by extension, to be a confirmation of the deeply moving experience that one often feels in the natural environment, and thus provided Reeve a literal and contextual frame within which to shoot the Everglades, a portal from the domestic into the wilderness. The curtains, all purchased from Goodwill and Salvation Army stores in south Florida and Utah, represent a 'social fabric' with a history already attached to them. In our increasingly urban existence that ever distances us from the wilderness experience, the drapes serve as visual connectors to the familiar and transform these fertile grounds into memento mori, which touch upon both the hidden social histories and the experiential nature of such vistas.