Two faces — or two states of the same face — pressed together at a vertical seam. The left holds flesh: closed eyes, visible pores, fine lines across pale skin. The right has turned: blue-grey oxide, corroded iron, matter that was once surface now curling away from raw linen beneath. An ear, a jaw, displaced fragments of a second figure crowd the upper left, already further along. The division runs through the centre but the process does not respect it. Rust bleeds into the flesh side; skin texture persists in the corroded half. Neither state is origin, neither is destination. The image catches material in transit between two conditions it will never fully occupy — organic and mineral, coexisting without hierarchy, each carrying evidence of the other.
