In the painting, The Cry of the Earth (1 Enoch 7:6), we view the earth from the perspective of Enoch as he wanders through the celestial atmosphere. Enoch observes the earth from within the knowledge limitations of his own era, not yet fully formed and with only a basic understanding of landmass, the oceans, and how they are linked together. But as a heavenly wanderer, he can see the earth not only spatially but also across time: he is able to survey three separate stages of earth's evolution progressing into the future, and can therefore foresee how humanity will neglect and slowly destroy the earth.

The three separate globes in the painting are Enoch's view of these three phases of earth's ecological history, as he floats above with the privileged view not only of a celestial traveller but a time traveller. The first earth, which surrounds the other two, is painted in a deep Prussian blue to depict our world at the time of the great deluge. Here the earth is drowning and all existence is submerged. We recall that humanity had an opportunity after the Watchers had imparted their knowledge, but subsequent choices ultimately led to humanity’s destruction, save for the survival of Noah and his family. The array of flora and fauna submerged beneath the surface serve as a reminder of the disastrous consequences of these actions.

Over time, a second earth was formed. It is left unclear what particular era is represented here but it could be contemporary. Although the earth is still fertile it has been infected with a virus and there are poison mushrooms sprouting across the lush green surface. We are looking through ash clouds, a pointer to our nuclear age and the destruction that has caused. The sea is deep ultramarine in colour and its surface is partly frozen. We are seeing here the advent of globalisation and the beginning of earth's deterioration. We can recognise in the final phase the reason that we have fallen into this plight. 

The third, golden earth symbolises the dominance of wealth, power, knowledge and ultimately greed over everything else. Even the infected mushrooms are now covered in gold. The atmosphere has been destroyed as the clouds have become golden lumps of glistening mass. There is nothing good remaining. There are no human beings and no humanity. Ethiopia is the crucial central focus of this painting. An Ethiopian Orthodox cross at the centre serves to draw the viewer's eye to that location. The shape of the country is picked out in red and Calla Lilies (the national flower) grow out to form a mouth with a tongue. Ethiopia itself therefore becomes the actual mouthpiece from which the agonised screaming described in the book of Enoch is coming. There is, however, a glimmer of hope in the antlers that burst through the surface. Although they represent death (a trophy which celebrates killing for its own sake) they are piercing the greed of the gold and returning to their natural state, like arms reaching out to the heavens. This is a positive sign as it shows earth calling out to the creator for help. We can hope that nature will survive although all seems lost; that it will reassert itself.

The viewer is given the same perspective as Enoch, looking down as if from heaven. We cast our eyes down upon the three cycles of the earth, with the two earths in the middle of the painting. On the left we look through grey clouds, and on the right golden, glistening clouds as everything in earth’s atmosphere is affected. We see not only what Enoch has recorded in that moment, but also what humanity has done and will do. Enoch celebrates nature and wants it to reassert itself so that utopia can exist once more.

The painting's message is optimistic: if we learn from our mistakes and obey basic principles then ultimately the world can recover. This is nature's distress signal—the earth crying out.