'Steps' One of the ways of showing humanness in works is to involve some aspect of directiveness to an existing arena - in this case, the rocky waterfall conclave. From what appears as a nature scene, one immediately notes furtherances to it, namely not just the literal steps on the right side leading to the top, but an extention above that implying habitation of humanity. Two responses can immediately be taken from this - pro-human or anti-human, depending on one's worldview. The pro sees this as an affirmation of being human, that what exists, simply exists, and is for to be made of use of - in this case not only as an aesthetic arena for one to come and do contemplation amidst the falling waters, but as an adjacent to passageway to further heights, both literally as well as figuratively. The con, of course, see this as affront to the socalled pristineness of nature, a nature in which humanity is not seen as an integral part, but as an enterloper - in which, then, the theme/title is directional to the reverse of the other's view. As such, this makes the work a litmus of one's viewing of self and one's relationship to not just the world, but to others of one's kind as well.