
Blown-white void, pure silhouette, extreme two-value contrast, ink-wash edges, coarse grain, paper texture. A 28-year-old woman stands in profile in a completely blown-out white field with no ground, no horizon and no shadow, rendered as a flat black shape with no interior detail. Beside her, filling the right half of the frame, stands an enormous black wolf — shoulder-high to her, its head level with hers, drawn in the same flat ink-black with no modelling at all. Neither of them is looking at the camera; both face the same direction, out of the left edge of the frame, waiting. Their outlines break down where they meet the white: dry-brush streaks running off the wolf's back, ink-wash bleed at the hem of her coat, a scatter of black specks in the glare around them, and the wolf's ruff feathering into fine separate filaments. The only colour anywhere in the picture is a single saturated red collar around the animal's neck, sitting flat and hard against all that black. Grain is coarse across the white field and paper texture shows through everything. The palette is white, black and one red line. The composition is vertical and slightly off-centre, the pair occupying the lower two thirds with a great deal of empty white above their heads. The mood is composed and faintly menacing, two shapes that have agreed on something.
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