Sycamore seeds tumbled slowly toward the viewer, echoing a naturally occurring event yet also appearing highly orchestrated. Falling, like her previous series, Sustenance, played with the notion of natural occurrences. Things constantly shifted between plausible and implausible, and the artificial/natural divide remained elusive to grasp. The motif of the seed in the work stood as a marker for the passage of time and its utility in sustaining life.

In Falling, Madahar reconstructed personal childhood memories of playing with the ‘helicopter’ seeds as part of a new imaginary space. As the seeds fell towards the viewer, different journeys and transitions from one state to another were suggested, this could be seen a metaphor for migration and the idea of journeys open to chance and to random patterns of settlement and growth. The film suggested her excitement at the idea of drifting, of a chance taken; at the sense of possibility in moving from place to place and approaching unknown horizons.

A series of five images accompanied the work, four of the images titled Falling 1,2,3,4 with the final image titled “Landed” and whilst this final image appeared to bring a sense of resolution to these journeys, the stream evident in this image was another hint of restlessness and movement. As the water carried away its share of seeds it suggested different journeys and different narratives intertwined.