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This is Sanya, captured in a lattice of fractured sun.
The trick for this effect? Mirrors. I arranged a simple setup of small mirrors to catch the afternoon light streaming through the window, then angled them to slice the beam into these precise horizontal blades. Each strip of gold landed on her skin like a separate exposure, carving geometry out of flesh while the rest dissolved into the velvet black I never fill.
If you follow my work, you know this obsession with high-contrast imagery—how I prefer to sculpt with absence rather than illuminate everything. Here, the mirrors became my collaborators, letting me paint with light the way a printmaker works with negative space: defining the subject only by what touches her, leaving everything else to the imagination.
The body becomes a landscape of light and void, each illuminated stripe a moment of revelation between stretches of mystery.

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