Working with Tryst takes place within a more controlled and directed framework, but one shaped by her own assured presence. From the outset, she brings a sense of ease and self-possession that changes the dynamic of the images. There is no transition into character or performance; what is encountered is immediate, direct, and unapologetically her own.

The series was made in her cottage, a setting that reinforces that sense of authorship. The space is not neutral—it belongs to her, and that ownership carries through into the work. The atmosphere is informal, but never incidental. Each image is constructed with intention, yet remains grounded in a feeling of familiarity and access.

Her approach to eroticism is both playful and deliberate. Gestures that might suggest intimacy are neither concealed nor exaggerated; they are held with a kind of clarity that resists performance. The effect is not theatrical, but self-defined—an expression of sexuality that is confident, aware, and unguarded.

As with all my work, the use of analogue monochrome photography introduces a slower, more attentive rhythm. Within that pace, the images settle into a balance between control and openness. Composition and light remain precise, but what they contain is less restrained—an ease in being seen that does not rely on distance or disguise.

This series differs in its directness. Where some work moves toward revelation over time, here the sense of access is present from the beginning. What unfolds instead is a deepening of that openness—subtle shifts in tone, attention, and intensity as the session progresses.

What is shown here forms part of that progression. The work continues beyond this point, moving further into explicit territory, but always within the same deliberate and self-possessed framework.