The Light That Named Her
The light did not fall upon her.
It turned toward her, as if remembering a vow.
The cicadas had begun their long ascent into silence. I had climbed slowly to the upper sanctuary, where even sound softens and shadow holds its breath. The heat had lifted, but the walls still held the warmth of day, like an offering never taken.
She waited—high in the eastern wall, alone, still, untouched by time. Not waiting to be seen, but waiting to be remembered. Her gaze did not seek mine. It was turned inward, beyond names, beyond histories. And yet, in that moment, the temple knew her.
The sun was setting behind the western towers, and the fire it cast returned from stone to stone, until it reached her face—not directly, but with the hush of reverence. She did not glow. She burned gently, from within. A blaze not of light, but of recognition.
I stood in silence. Not preparing, not adjusting. Only witnessing. The camera had been set before the moment arrived. All that remained was breath.
She was not carved for memory.
She was carved to hold stillness.
And the light, in naming her, fulfilled its purpose.
evening fire rests
on a name the stone forgot
until the light spoke
Also in Library
Those Who Keep the Way Open — On the Quiet Guardians of Angkor’s Thresholds
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.
Multiplicity and Mercy — The Face Towers of Jayavarman VII
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.
Stone That Dreams
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.
$270
Angkor Wat Temple, Angkor, Cambodia — 2020
Limited Edition Archival Pigment Print
Edition
Strictly limited to 25 prints + 2 Artist’s Proofs
Medium
Hand-toned black-and-white archival pigment print on Hahnemühle Bamboo — a museum-grade fine art paper chosen for its quiet tactility and reverent depth, echoing the spirit of the temples.
Signature & Numbering
Each print is individually signed and numbered by the artist on the border (recto)
Certificate of Authenticity
Accompanies every print
Image Size
11.75 x 5.6 inches (29.8 x 14.2 cm)
She stands in silence, not as a relic of devotion, but as its source—a solitary goddess set within the holiest sanctuary of Angkor Wat, receiving the last golden breath of day.
Carved high on the eastern wall—across from the setting sun—she does not perform. She does not turn. She remains. The shadows gather around her, but do not claim her. Her presence is more than stone. It is invocation.
The artist arrived in that hour of hush, when the air stilled and light bent inward, reflecting from the sandstone walls of the sanctuary itself. Standing before her, he did not seek a photograph. He awaited a blessing. The exposure was long. The silence, longer. The moment, eternal.
Captured on large-format black-and-white film, shaped with classical chiaroscuro, and later hand-toned in gold, the image echoes the light that once crowned her—not to mimic, but to honour.
Each signed print is hand-toned on museum-grade Hahnemühle Bamboo paper in a strictly limited edition of 25 + 2 Artist’s Proofs. It is offered as presence, not object.
Let her gaze become the stillness in your space.
Click here to enter the Artist’s Journal and walk deeper into the sanctum.
