“The ground and the figures of Freefall contain a double valence: on the one hand, that of the protagonist and the groundless world they live in, and on the other hand, the flat silhouettes of the panels, standing apart from any page or wall. In the end, the drama of Freefall is this relation between figure and ground rather than any specific quest by a character: it is the general question of how a figure inhabits a world in which they cannot stand, cannot get up, and cannot finish falling. Such instability can become the engine of its own emotional spiral. It’s an internal feedback loop: an anxiety that accelerates as it completes each turn around one’s head, because it is the fear of the spiral itself that seems to propel it faster and faster.” Excerpt from an essay on Sheona Turnbull by Becket Flannery