I like to overlap figures, and use the shadow shapes to carve out abstracts within the body. This doesn’t just introduce abstraction, it also introduces a sense of time, and movement within a static image, in which I am fascinated. I asked my model how she felt about having her head cut off in this image, and she said “thank you.” She named it Horus, for the beak shape at the clavicle reminded her of the bird headed Egyptian god. In the studio, Nikki Barber uses old newspapers to cover the inking station. This drypoint is on a plexiglass plate, so you can see everything through it. A bit of chance, a dob of serendipity, and we received a message from the gods: George H. Kalberer’s head on Horus.