This scene was at the feet of Fiona Tan when she made film shots in the radioactive area near Fukushima, Japan. It marks the flawless eye of the artist that she immediately recognised the power of the image.

Tan visited for her new work, the triptych Ghost Dwellings, three places on earth where the residents have moved away due to decay, devastation or lack of money. This produced powerful images of abandoned houses, buildings and streets, but at the same time Tan also looked for signs of renewed energy and flourishing on these ruins. Tan named this 'aftermath'; literally vegetation that reappears after the harvest.

This photo is a beautiful representation of that concept; in the flared grass there is a pot shard of something that has undoubtedly been a porcelain dish or plate. Delftware? Is it perhaps a Dutch shard in Eastern earth? Although the piece of pottery is in the middle of the image, nature is the actual subject of the picture. It struggles and comes up again. The visual rhyme between the motif on the dish and the grass surrounding it seems almost too good to be true. And everything from the dewdrops on the grass, to the small plant that works its way up, speaks a hopeful positivity.