A lone figure cut black against a glare-flattened wall of water.Same stance, tighter — the silhouette breaking into the bokeh at its edges.A figure against the shoreline's dark curve, sea reduced to scattered light.Board and rider read as a single narrow mark on the shining water.The silhouette leans, arms out, dissolving at the hem into pure flare.A hooded shape stands chest-deep, glare erasing where the water starts.Two marks on the light — a near silhouette, a fainter one further out.The figure narrows to a single dark line, reflection doubling it below.Same line, closer — the double reads almost as one elongated form.A hunched shape low in the glare, the horizon barely holding its edge.A single upright mark on the water, a hazy shoreline of buildings behind.Two figures stand apart in the glare, a tower rising out of the coastal haze.A figure crouches on the shoreline's edge, one leg dissolving into light.Arms spread wide against the flare, the reflection pooling directly below.A low, wide silhouette breaking the light line — board, body, and wake as one shape.A narrow figure rises alone from a field of scattered bokeh.One arm extended, the whole figure rendered as a single sharp cut-out.Two small marks on the light beneath a dark ridge of land, a sun-disc caught between.Three figures strung loosely across the glare, distinct but reading as one family of forms.Arms out wide, legs apart — the most fully 'alien' silhouette of the set.Aliens of Currumbin Beach · 01/20
01 / 20
Long-lens studies off Currumbin, shot straight into blown-out glare so the surfers and swimmers reduce to dark cut-outs on a field of light. Compression flattens the water to a wall of bokeh; the figures lose their limbs to the flare and read as something closer to alien than human. Monochrome, high-contrast; the beach as a backlit stage for bodies that no longer look like bodies.
