Silhouette Photo Quotes

But it wasn't the photograph that caught her attention. It was what was tucked into the frame. Dominic's eyes followed hers. And a tinge of color appeared in his cheeks. Walking over, the butterflies skittering about her stomach, Sylvie reached out and touched the intricate little silhouette portrait of her own face. Her eyes lifted to Dominic's in-the-flesh face, which was currently much stiffer than that paper. "Pet," he said. "She cut a couple of portraits in here one day when we were talking about Operation Cake. Yours and Mariana's." "Yes. I saw Mariana's after you gave it to her." She ran her fingers around the paper contour of her plait, dropped her hand to the desk. "You didn't give me mine, though." "No, I didn't." "Because... we didn't get along? And you wanted to keep Pet's artwork?" "I did want to have some of Pet's art." Dominic's jaw ticked. "And somewhere along the line, I wanted that one in particular." Sylvie swallowed.

In Nashville, statues appeared in the early morning mist, a hundred ghostly children cast from ice. all our missing hearts, read a sign chained around one’s neck. The police arrived with handcuffs at the ready, but whoever had placed them was gone. Just a prank, one officer radioed back to the station, it’s just ice, but— Around them, commuters paused, shaken for once out of their routines. Some snapped photos, but most simply stood mesmerized, even just for a moment, watching in silence as the small faces slowly, slowly dissolved and blurred. One of them reached out and touched what had once been the face of a little girl, melting a thumb-shaped indent in her cheek. The police shooed them away, cordoned off the area, set up a perimeter in case the perpetrators returned. It took most of the morning for the statues to melt, and for hours the officers on duty would glance up at the skyscrapers and see the silhouettes of people in the windows above, staring down at the fading blocks of ice, and later, at the dark damp patches where children had once stood.

As a response, she turned toward him with her phone, took a shot. The flash was off - she didn't like the flash, it was too garish, too bold - and what resulted of him in that photo was this half-dark shadow. But it showed his shape, and she liked that. A silhouette she enjoyed.

But I was stuck for a long time by myself at Abraham Lincoln's portrait, standing in the middle of the huge hall as people moved all around me with mostly children. I felt as if time had stopped as I watched Lincoln, facing him, while watching the woman’s back as she was looking out the window. I felt wronged, so much like Truman from the movie, standing there in the middle of the museum alone. I was wondering what would Abraham Lincoln do if he realized he was the slave in his own cotton fields, being robbed by evil thieves, nazis. I had taken numerous photos of Martina from behind, as well as silhouettes of her shadow. I remember standing there, watching as she stood in front of the window; it was almost as if she was admiring the view of the mountains from our new home, as I did take such pictures of her, with a very similar composition to that of the female depicted in the iconic Lincoln portrait looking outwards from the window. I hadn't realized how many photographs I snapped of Martina with her back turned towards me while we travelled to picturesque places. Fernanda and I walked side-by-side in utter silence, admiring painting after painting of Dali's, without exchanging a single word. Meanwhile, Luis and Martina had got lost somewhere in the museum. When I finally found her, she was taking pictures outside of the Rainy Cadillac. We both felt something was amiss without having to say it, as Fernanda knew things I didn't and vice versa. We couldn't bring ourselves to discuss it though, not because we lacked any legal authority between me and Martina, but because neither Fernanda or myself had much parental authority over the young lady. It felt like when our marriages and divorces had dissolved, it was almost as if our parenting didn't matter anymore. It was as if I were unwittingly part of a secret screenplay, like Jim Carrey's character in The Truman Show, living in a fabricated reality made solely for him. I was beginning to feel a strange nauseous feeling, as if someone was trying to force something surreal down my throat, as if I were living something not of this world, making me want to vomit onto the painted canvas of the personalised image crafted just for me. I couldn't help but wonder if Fernanda felt the same way, if she was aware of the magnitude of what was happening, or if, just like me, she was completely oblivious, occasionally getting flashes of truth or reality for a moment or two. I took some amazing photographs of her in Port Lligat in Dali's yard in the port, and in Cap Creus, but I'd rather not even try to describe them—they were almost like Dali's paintings which make all sense now. As if all the pieces are coming together. She was walking by the water and I was walking a bit further up on the same beach on pebbles, parallel to each other as we walked away from Dali's house in the port. I looked towards her and there were two boats flipped over on the two sides of my view. I told her: “Run, Bunny! Run!

I glanced over to the mountain photo and nodded, offering reverence for being part of the plan.

Since no photos of me were published, I was curious about what photos would accompany the articles; a silhouette of a girl looking out a window, a teardrop on a cheek, duct tape over her mouth. All of this was accurate, in terms of the solitude, the silencing. But the incredible thing is that a victim is also the smiling girl in a green apron making your coffee, she just handed you your change. She just taught a class of first-graders. She has her headphones in, tapping her foot on the subway. Victims are all around you.