A vertical column of three frames of equal height. A glass on a counter with the room behind it thrown fully out of focus. A different camera position in every panel — in the first the camera stepping back to find the subject stopped and waiting, in the second the camera holding on the place a moment after the subject has left it — stacks only, in the third the camera behind a foreground object that crosses the lens, the subject beyond it — the subject at a clearly different size in each and turned away from the camera in at least one. Black and white throughout, two thirds of the frame in flat true black, the lit forms emerging straight out of the dark with soft edges, going straight from dark to highlight. A stylised wave crest multiplied and tiled across the dark as a field, with furious and holding it in, the jaw set and the eyes direct small and lit at its centre. One panel holds a single lit element alone in near-total black. Snow coming down in large flakes, with lilac from a screen against a warm amber bulb in a shade somewhere else in the frame. Greyscale only, the lightest value a lit highlight. Fine even grain, visible in the mid-tones and holding in the darks. One enormous flat light panel as the only source, everything else falling away from it. Dreamlike and surveilled, a silent-era image, beautiful and faintly threatening.