The Silence That Sees
I placed my hand on the stone—not to steady myself, but to listen. It was cool, textured by centuries of weather and worship. Apsaras carved across the sanctuary walls tilted in various gestures, but one stilled the morning around her.
She didn’t face me. Her gaze rested just beyond, where memory slips into myth. Her hand rose with the gentleness of a blessing that did not require belief. I felt no need to be seen. Only received.
Light moved quietly across her collarbone. Not illumination—recognition. I crouched low to watch it touch the edge of her braid.
When I eventually exposed the film, I knew I would spend hours drawing out what the stone already understood: shadow is not absence, but a form of grace.
The stone did not speak
but opened a space for listening—
and something entered.She does not move.
She does not need to.Each braid is a prayer
coiled in time.The hand she raises
is not a gesture
but a threshold.Stand before her
and forget what you thought
was yours to hold.
More from the Library
Houses of Wood, Light, and Smoke
Some of Angkor’s most intimate ruins do not rise above the ground at all. They are postholes, low mounds, hearths and ponds: durable traces of a domestic city built largely from things that decay. To restore that city is to see Angkor not only as stone, but as wood, smoke, water, repair, and people living within calling distance.
What Stone Brings Forth
I had mistaken a gift for something being expelled.
Beneath the nāga's mouth, a stone garland descended bead by bead. Nearby, a makara opened its jaws and another form emerged. Looking closer, the whole temple began to change: serpent became ornament, ornament became architecture, architecture became foliage.
The forest did not introduce this language.
It answered it.
The Eighth Daughter
Seven daughters have already been taken by Yamata-no-Orochi when Susanoo reaches the River Hi. Only Kushinada-hime remains. The Eighth Daughter retells the Kojiki episode through a family’s waiting, a girl transformed into a comb, and the patient preparation for the serpent’s return.
$895
Banteay Srei Temple, Angkor, Cambodia — 2022
Limited Edition Archival Pigment Print
Edition
Strictly limited to 7 prints + 2 Artist’s Proofs
Edition Number
This listing is for the first numbered print from the Large Collector Edition: 1/7
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
34.3 x 22.9 inches (87.1 x 58.2 cm)
The first light touches carved sandstone like breath on water. At Banteay Srei, a solitary apsara steps forward from the temple wall, hips bowed, expression inward, surrounded by tendrils of lotus, scroll, and sky.
The courtyard is silent, rain-washed. A sweetness lingers in the air—moss, frangipani, and the faint trace of fire. She appears not as ornament, but as invocation: a gesture caught between time and eternity.
The moment stilled me. I stood with the camera lowered, waiting. When I finally exposed the film, it was not just light that entered—it was the presence of something older, something listening.
Photographed on medium-format black-and-white film, shaped with classical chiaroscuro techniques, and hand-toned with pigment and prayer, each print preserves this reverent hush. The edition is strictly limited to twenty-five, with two Artist’s Proofs. Each print is made on museum-grade Hahnemühle Bamboo paper and signed on the border recto.
Own this quiet gesture of divine memory.
Click here to follow the echo deeper into the Artist’s Journal.
Previously titled ‘Apsara II, Banteay Srei Temple, Angkor, Cambodia. 2022,’ this photograph has been renamed to better reflect its place in the series and its spiritual tone. The edition, provenance, and authenticity remain unchanged.