

A cinematic photograph of her at a workbench in a museum basement, shot from the chest up, the camera a little below her eye line. One high window behind her and to the left throws a single hard beam of daylight across the room, full of slow dust, and the rest of the room is deep black. She wears a heavy brown canvas apron and under it only bare skin: the straps cross her bare shoulders, and the beam runs down the side of her long neck, her collarbone and the top of her arm. She has just looked up from her work with a fine wire held between her lips, her chin a little down, her pale grey eyes level on the lens. Her dark hair is cropped in a buzz cut with a small white feather caught in it. Behind her, out of focus in the beam, the white shape of a large swan lies on the bench with its neck hanging over the edge. 50mm, f/2, her eyes tack sharp, the swan a soft white mass behind her. Muted, melancholic, hyper-realistic, fine film grain. In the lower right corner, a small pencil signature: Ziggy