The sheet room before a reel opens.
Still studies, reference images, and reel frames stay compact enough to compare before any one image takes over.
Twenty-four still studies, grouped for comparison.
The photographs stay small here so gesture, surface, and distance can be compared across locations before a single study is opened.
Six contact plates from each location chapter.
Riviera, country house, concrete coast, and island threshold.
One figure moving through the whole monograph.
After the still wall, each location opens as a sheet board: reference image, plate ledger, and six reel frames in order.
Four compact boards for the moving plates.
Each location keeps one reference image, six reel frames, and a short ledger of roles, so Ava's movement can be compared without turning the page into a gallery.
Saint-Tropez, 1983
The six Riviera plates begin with open water, then narrow toward brim shadow, small object, canoe paint, and dock rope. The sequence keeps Ava between summer surface and tactile detail.
Evening Skiff
Ava at dusk, with the skiff and cotton dress held against rose-blue water.
The first plate fixes the Riviera at water level before the sequence moves toward sand, shade, and rope.View reel
White Dunes
Her dress draws a soft line through dunes and salt glare.
The dunes pull the waterline outward, letting fabric replace the horizon as the image's softest edge.View reel
Hat Shadow
A brim shadow crosses her face near the Riviera water.
The sequence tightens here, replacing shoreline scale with brim shadow and a partial face.View reel
Small Object by the Sea
Her hand brings the beach down to object, fabric, and harbor light.
The beach view becomes an object study; the hand gives the shore a smaller register.View reel
Green Canoe
Faded green paint and evening water set the scale around her.
The canoe returns to water by color, not spectacle: green paint against evening pink.View reel
Thick Dock Rope
Hand, rope, wrist, and water bring the dock into close focus.
The Riviera sequence ends with touch, reducing harbor and summer to rope fiber and wrist.View reelSouth France, 1979
This sequence moves through linen, window, floor, glass, and road. Ava is never far from the house, even when the final plate steps outside into wet stone.
Linen Passage
Hanging sheets turn the corridor into a country-house passage around her.
Linen introduces the house as a passage, not a room; every later plate returns to that crossing.View reel
Tea Near the Field
Tea, field light, and a window hold the country-house interval.
The window sets a quieter tempo between the linen passage and the more open rooms.View reel
Morning Studio
A bare studio floor, morning light, and Ava crossing the room.
A bare floor opens the house wider, carrying movement through reflection instead of furniture.View reel
Window, White Light
Plaster, glass, and Ava near the edge of white room light.
The room thins into plaster, glass, and white air before the sequence leaves the house.View reel
Wet Greenhouse
Rain glass breaks the garden around Ava into color and blur.
Rain glass interrupts the interiors, bringing the garden back as blur and color.View reel
Wet Stone Road
Blue dress and wet stone carry the country light after rain.
The final South France reel leaves the rooms but keeps their weather in the wet stone.View reelCap d'Agde, 1977
Cap d'Agde is arranged as a hard sequence of edges: roof, marina, gallery, dusk line, arcade, sea wall. Ava supplies the interruption without softening the place into romance.
Modern Roof
A profile against hard roofline, concrete heat, and white fabric.
Concrete establishes the measure before the marina, gallery, arcade, and sea wall narrow around her.View reel
Marina Walkway
A pale marina surface, masts, balconies, and Ava crossing the concrete.
The marina turns resort space into civic surface, with Ava crossing the grid rather than posing inside it.View reel
White Gallery
White walls and reflected light turn a walk into the scene.
The gallery softens the concrete sequence without leaving its geometry behind.View reel
Roofline at Dusk
Ava below a concrete horizon, the dress breaking the dusk line.
The roofline lowers the horizon until the dress becomes the interruption.View reel
White Arcade Figure
A soft vertical line moving under repeating white arches.
The arcade repeats the body in intervals, giving the walk a measured architectural beat.View reel
Sea Wall Profile
Profile, white wall, and sea glare cut the image down to essentials.
The modernist sequence closes near the face, where wall and glare become portrait structure.View reelGreek Island, 1984
The island plates reduce the shoot to a few hard surfaces. Ava moves through doorway, alley, pool, square, stair, and room while glare edits away anything ornamental.
Door to the Sea
A doorway cuts sea, wall, and dress into one island plate.
The doorway makes the island sequence a study in edges: room, sea, wall, and figure.View reel
White Alley
Ava in limewash and hard sun, reduced to cotton, shadow, and stone.
After the doorway, the alley turns the island into a close wall study with almost no horizon left.View reel
Empty Pool
Blue pool, white wall, and Ava held near the edge of heat.
The pool answers the doorway with a flatter kind of blue, more surface than view.View reel
White Square
Noon light washes the square until her profile becomes the contour.
The square keeps the island almost blank, leaving profile and wall to carry the plate.View reel
Steps Above the Sea
White steps above the water turn the island into surfaces and exposure.
Steps give the island sequence its clearest movement, a white path against blue distance.View reel
Whitewashed Room
A sunlit wall and her silhouette make the room almost bare.
The island closes indoors, but the wall keeps the sea glare in the room.View reel