A young, white, femme-presenting person with mid-length brown hair and bangs, wearing a crimson dress with long sleeves and puffed shoulders, sits in a dark-coloured, quilted armchair. Their eyes look fearful. A white, masc-presenting person wearing a dark, long-sleeved shirt with the cuffs rolled up to the elbows grips the back of the chair with one hand, and the chin of young femme in the chair with the other. Their hand is large and covers the young person's mouth, as if to silence them.

A slim femme-presenting person with mid-length, loosely curly black hair, wearing a plain black T-shirt, stands in a derelict kitchen with their back turned to us. They are holding a round mirror in their left hand so that we can see their reflection. The top of their face is obscured, by what appears to be their right hand—perhaps they are touching or picking at something on their forehead? The walls of the kitchen are covered with multiple layers of peeling, retro wallpaper—a kitschy, multi-coloured pattern with teapots, covered over with a red and white geometric. The cabinets and window frames are covered in stained and crackling white paint. The white linoleum tile on the backsplash is peeling away to reveal beige linoleum with peaches. The cabinet doors are open, and the drawers are pulled out; both are empty. Perhaps this place has been long-abandoned; perhaps someone has been searching for something; or perhaps both.

A thin, white, femme-presenting person with mid-length brown hair and bangs lies on floor tiled with intricately patterned blue and off-white tiles. They are wearing a strapless top of yellow lace. Their hair billows out to their side against the floor, their mouth is slightly open, and their expression is perhaps hopeful, expectant or apprehensive—at any rate, there is a tension in it. The right side of their face is clearly visible, but the left side appears distorted—blurred and stretched horizontally, so that the details of their features are lost. Everything in the photo, from the figure to the tiles, is framed in a way that is slightly off-kilter—the tiles run diagonally, while the figure is slightly off-center, in the bottom of the frame, and angled just slightly away from vertical: all of this contributes a sense of tension or perhaps turmoil to the image.

A white, femme-presenting person with long brown hair and bangs, wearing a long red dress with long sleeves, and brown, lace-up high-heeled boots, sits in a dark brown pressback chair and looks out a window to the right of the frame. Their heels are hooked around a rung of the chair, so that their knees are pulled up close to their chest. Their right arm is folded against their chest and their left arm rests against their knee, cradling their chin against the fist. The room is mostly empty, but it appears to be a studio of some kind. A splatter of turquoise paint marks the floor in front of the chair, a large frame of some sort—maybe a bed frame—and a white ceramic pitcher are visible in the background. The lighting is Baroque—the background fades into darkness, while the primary figure is emphasised through a dramatic play of shadow and light.

A pair of arms belonging to a slim, white-presenting person extends into the foreground, holding (offering?) handfuls of blackberries. However, the blackberries have been damaged, crushed, and the juices have stained the person's hands and arms suggesting the appearance of deep wounds. The background of the photo is blurred and muted, earthy greens are echoed by the dark forest green of the central figure's dress.

A slim, white, femme-presenting person wearing a draped, sky blue, tea-length satin dress sits on a dark brown wood chair in a forest clearing. Obscuring their face, they hold up what appears to be a rectangular screen, bearing an enlarged image of what is presumably their face—a paradoxical act of hiding and revealing. The face has mid-length, wavy dark hair, parted at the side and appears solemn. It is framed by a concentric circular pattern of distortion that calls to mind ripples in a pond. Combined with the reflection of light off of the screen, one gets the sense that perhaps the person in this image is submerged under water. The person holding the screen is barefoot—seemingly quite vulnerable when juxtaposed with the sharp pine needles and dried sticks blanketing the floor of the clearing. The person's pale skin and vibrantly coloured clothing contrast with the muted brown tones of their forest surroundings.