The globalisation that began at the end of the 20th century accentuated the spread of codes for representing the beach, with the Polynesian model predominating. The image of the beach had to correspond to the commercial criteria produced by the tourist industry, i.e. an imaginary paradise and a fictional experience of freedom designed to arouse desire. It is the tourism industry's flagship product, a commercial icon of a consumerist society.

By drawing on the collective imagination and using the imagery of the beach, the ‘The edge of the earth’ series of drawings questions our relationship with the standardised codes of the beach image, the ways in which we use this space and, by extension, its function of social distinction. ‘The edge of the earth’ presents landscapes of beaches chosen because they have in common that they are places that are not paradises. They have been altered by human activity, or are places of exploitation, human trafficking or cemeteries.

The idealised surroundings of the beach offer an exotic experience without having to worry about the impacts and actions that take place there. This desensitisation to the beach environment also excludes the possibility of understanding this space as anything other than a place of leisure and makes it possible to forget that the beach does not have the same meaning for everyone around the world.