I start the series with a close up that pops off the page both with the expressiveness of the subject's face, and equally with the bright flour caking the very crevices of the nose and mouth. She is given her own moment in time. Her eyes, typically the soul of a portrait, are intentionally not as highlighted as the flour she finds on her face. In this way you, the viewer, are given two compelling elements to the image, neither overshadowing the other, together and individually telling a story.