Between Breath and Stone
Light does not arrive here—it unveils. A shadow releases its hold on one carved cheek, while another face glows as if remembering all the dawns the other forgot. I stand between them, not in space, but in offering. The shutter clicks only when breath slows to match the stillness they share.
First light on stone lips—
history inhales, exhales,
vanishes in breath.
More from the Library
The Leaf and the Pencil
A leaf holds my attention. Then I remember that I can draw. The pencil reveals things I had never noticed, but introduces its own demands: proportion, shading, the desire to make something beautiful. When I try to describe the encounter, language presents another difficulty. An essay about the uncertain distance between looking at something, understanding it, and being present with it.
The Work We Return To
We have become very good at measuring persistence, and less good at asking what deserves it.
A musician begins the same passage again. A writer returns to an unfinished sentence. Someone stands before a familiar face carved in stone, with nothing new to photograph.
What brings us back when enthusiasm has gone? And how do we distinguish devotion from the demands that quietly consume the rest of our lives?
Under the Gallery
Rain, a carved hand, and the small movements of lives separated by centuries. A new literary piece from The Vow.
$395
Bayon Temple, Angkor, Cambodia — 2018
Limited Edition Archival Pigment Print
Edition
Strictly limited to 15 prints + 2 Artist’s Proofs
Edition Number
This listing is for print 9/15 from the 12-inch Intimate Collector Edition.
Medium
Hand-toned black-and-white archival pigment print on Hahnemühle Bamboo — a museum-grade fine art paper chosen for its quiet tactility, warm natural tone, and reverent depth.
Signature & Numbering
Individually signed and numbered by the artist on the border (recto)
Certificate of Authenticity
Accompanies every print
Image Size
12 × 12 inches (30.5 × 30.5 cm)
Dawn gathers in Bayon’s corridors like water in a stone bowl, cool and unhurried. Two faces emerge from the worn architecture: one held in pale morning light, the other passing through shadow at the edge of sight. Their exchange feels less like carving than thought made visible — stone remembering itself in silence.
This intimate collector edition asks to be approached closely. At twelve inches square, the image does not command the room; it draws the body nearer. The viewer stands before the print almost face to face, close enough to enter the grain of weathered stone, the softness of worn lips, the dark hush between one profile and another. At this scale, Bayon becomes a quiet shrine of attention.
I pressed the shutter only when my breathing seemed to match the temple’s. Medium-format black-and-white film received the moment’s slow cadence; in the darkroom, shadow and glow were drawn into balance until the two faces seemed to hold one another across time. Hand-toning followed, giving each print its own quiet pulse.
Printed on Hahnemühle Bamboo, signed, numbered, and accompanied by a certificate of authenticity, this fifth numbered print from the 12-inch edition is prepared as a small threshold of reflection: a piece of Bayon’s dawn held close enough for silence to deepen.
May it find the wall where your own stillness waits.
Enter the Artist’s Journal to walk deeper into the hush behind this image.
Previously titled ‘Face Towers I, Bayon Temple, Angkor, Cambodia. 2018,’ this photograph has been renamed to better reflect its place in the series and its spiritual tone. The edition, provenance, and authenticity remain unchanged.