Three standing figures, each occupying a vertical panel of worn plaster and stripped wood. The leftmost head is severed by a geometric cut — face turned away, neck elongated, identity withheld. The centre figure lifts her chin, eyes half-closed, rendered in softer line. The third is hatched in dense parallel strokes, profile sharp where the others blur. Each garment begins as cloth and ends as something else: torn layers, cascading planes of material that have lost their function and gained weight instead. The panels do not form a sequence. Nothing progresses from left to right. Each figure is mid-collapse in a different register — structural fracture, suspension, graphic erosion — and the ground they share refuses to unify them. What the image holds is not three variations on a form but three simultaneous states of the same undoing, distributed across a surface that cannot contain any of them.