Between 2022 and 2024, Javier Landeras photographed the Arimotxes forest reserve at Munain-Okariz, in Álava, a landscape shaped less by wilderness than by centuries of human tending. Its ancient oaks were pollarded for generations by local communities, and when that cutting stopped decades ago, the trees and the place around them entered a different, slower condition. Landeras reads that interval as historical sediment. He approaches the forest through aesthetic experiment rather than descriptive inventory, deliberately opening his images onto anthropology and sociology — the collective culture a landscape stores. Sixty photographs set within 128 pages make room for that reading; the reserve is treated as a subject with duration, not as scenery.

The photographs are not content to remain records. Their textures, and the papers chosen for the volume, let the forest infiltrate the object itself: organic, almost archaeological impressions register physical passage through time and resist photographing that lies flush and neat. Texts by Iñigo Sarriugarte, Mari Jose Aranzasti, and Ana Múgica are printed in Spanish, Basque, and English — a linguistic correspondence with the Basque territory the pictures describe, bringing the local language into the same volume as its Spanish and English readings.

Arimotz, published by haru asaki in 2025 in an edition of 150 copies, received the 2026 PHotoESPAÑA award in the Bibliophilia category. The honour is documented; the collectible quality it points to is clearer through what the object proposes. For a collector, the interest lies in that relationship between image and material: the publication carries an argument about the forest into the experience of turning its pages. Its documented edition of 150 copies identifies the scale of production, without establishing a market value or proving how many copies remain available.