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A red-and-black chalk sketch of an Angkor terrace at dawn: a broom leaning on a square column, a water bowl, a folded cloth, and a freshly swept stone path.

Those Who Keep the Way Open — On the Quiet Guardians of Angkor’s Thresholds

3 min read

Quiet gestures shape the way into Angkor — a swept stone, a refilled bowl, a hand steadying a guardian lion. This essay reflects on the unseen custodians whose daily care keeps the thresholds open, revealing how sacredness endures not through stone alone, but through those who tend its meaning.

A red and black chalk study of a Bayon face tower in soft morning light, shown in three-quarter profile with calm, lowered eyelids.

Multiplicity and Mercy — The Face Towers of Jayavarman VII

5 min read

A new vision of kingship rises at the Bayon: serene faces turned to every horizon, shaping a world where authority is expressed as care. Moving through the terraces, one enters a field of steady, compassionate presence — a landscape where stone, light, and time teach through quiet attention.

Red and black chalk study of a Bayon face dissolving into shadow and space, evoking quiet multiplicity and inward stillness.

Stone That Dreams

4 min read

Bayon wakes like a mind emerging from shadow. Its many faces shift with light and breath, teaching that perception—and the self—is never singular. In walking this forest of towers, the pilgrim discovers a quiet multiplicity within, held together by a calm that feels both ancient and newly understood.

Red-and-black chalk study of a camera before temple wall, dawn light and butterfly trace suggesting stillness.

The Still Eye — Craft, Meditation, and the Listening Camera

4 min read

In the darkroom, silver begins to breathe—and a morning at Bayon returns. The essay moves from tray to temple and back, tightening its centre around a single vow: consent, not capture. A butterfly’s tremor, a lintel at dawn, a print clearing in water. Craft becomes meditation; the camera, a quiet bowl for light.