Composed from the borderlines of ocean maps, Depths in Feet (Echo) pairs diagrammatical flatness with spatial perspective. As in all his map drawings, Marx approaches his source material from an oblique angle, contradicting the bird’s eye view of cartography. To be in the landscape is to see the world from zero degrees. Seen from an aerial perspective, looking down, the perspective shifts to ninety degrees. Marx’s desired position is somewhere in between, neither embedded in the land nor removed from it. From this halfway vantage point, he suggests, landscape and map become confused and indistinct. “I’m emphasising the map in space,” Marx told Alexandra Dodd in an interview, “– the map as an object in the world, a physical terrain in itself. So suddenly, when there’s this spatial dimension, it becomes something of a still life.”