The artist for the month I joined was Pablo Picasso, and the artwork we focused on was Les Demoiselles d'Avignon.

At the same time, I had just booked a test shoot with three models—each of them very unique in their look and presence. As I thought about the prompt, it occurred to me that one of the images from that shoot might become the foundation for my piece.

During that period I was also working on another project that involved using large quantities of mailing labels. That material started to spark an idea. For my September piece, I printed images of the three models onto sheets of labels, then cut the photographs into small, mosaic-like fragments.

Piece by piece, I reassembled the fragments on a sheet of cardboard, allowing the image to break apart and come back together in a new way. The process felt like a small nod to Picasso’s fragmented, shifting perspectives—faces and forms reconstructed through pieces rather than presented as a single uninterrupted image.

What began as a simple test shoot became something more tactile and experimental: photography translated into collage, image into object.

The result felt less like a photograph and more like a conversation with the process—cutting, rearranging, rebuilding—an exploration of how an image can be seen differently when it’s literally broken apart and reconstructed.