The final set in the sequence is deliberately ambiguous. It consists of a single 4-minute long-exposure photograph showing a figure standing in a doorway, half inside a dark room and half illuminated by an unseen exterior source.
A stark departure from interior decay, Set 46 moves outdoors but retains the uncanny. Hangan commissioned silicone prosthetics shaped like giant fern fronds, which she attached to models’ spines, elbows, and kneecaps. alexandra hangan sets 41-50
The garden’s heating system failed three days before the shoot, resulting in frost on the glass panes and a temperature of -4°C inside the hothouse. Models wore no outerwear aside from the prosthetic ferns. The final set in the sequence is deliberately ambiguous
Set 47 is a diptych series—each of the 8 images is paired with a second image taken 24 hours later in the same location, with the same model, after a prescribed “ritual of undoing.” Set 47 is a diptych series—each of the