In this series, I investigated my own definition of the theme of Canadian identity anew while considering the artist book as a dissected form of language. Inspired by the exhibition ANTHEM: Expressions of Canadian Identity, I delved deeply into alternative book forms, including their construction and folding, to best entwine language and image, bridging print installation with deconstructed book traditions to form unique platforms for exhibition. Examining the geography of the southern Saskatchewan landscape in which I was raised, I carefully crafted text and distilled imagery—not pointing toward any one narrative but rather the prairie’s remarkable mutability, its ability to never be viewed from a static viewpoint as it moves and evolves through rain, drought, snow, and the influence of one’s interactions within it. From the incremental such as the nightly drive home on a familiar grid road to the ephemeral movements of the northern lights at dusk, landscape interlaces with personal ethos to forge an intensity of topophilia—a term coined by geographer Yi-Fu Tuan to describe a sense of place intertwined with cultural identity.