Sakkuraka✩ Portfolio SECOND SKIN About Work Together



SECOND SKIN is a solo photographic exhibition exploring the visual translation of sound through movement, color, texture, and the human body.

Inspired by electronic music and the idea of an alternative (“second”) self, the series blurs the boundaries between the natural and unnatural. Each photograph presents a different expression of identity, transformation, and the freedom to exist without inhibition.

Developed over the course of 2026, SECOND SKIN began as an exploration of what music might look and feel like if it could take on a physical form. Through three photographic volumes, the project gradually evolved into a collection of characters, environments, and visual interpretations, each shaped by the sounds that inspired them.






01 / THE PHOTOGRAPHS











02 / VISUAL LANGUAGE

Texture, color, movement, and the relationship between the physical and sound.

A lot of the visual direction behind SECOND SKIN came from wanting to make something familiar feel unfamiliar. I was interested in how the body, specifically skin, could be manipulated through different materials, lighting, and movement, and how those elements could change the way we perceive a person or even recognize them.

TEXTURE & FORM


I found myself drawn to materials that could alter the appearance of skin without completely hiding it. The layering of textures, the way light interacted with different surfaces, and the distortion of familiar shapes became a way for me to explore that space between something organic and something artificial.

We are at our most basic form in our own skin, but even something so familiar can become unrecognizable when its appearance is altered. I wanted to explore how something that naturally belongs to us could begin to feel foreign, almost as if the body were becoming something else entirely. I liked the idea of not always being able to distinguish where one ended and the other began.

COLOR & LIGHT

Color and lighting played a large part in creating the atmosphere of each volume. Red became a signature in the way I interpreted the sounds I was listening to. Rather than approaching color as a purely aesthetic choice, I wanted it to communicate a certain feeling.

I kept imagining bold colors as a way to translate the idea of an alternate self, something we might not always express outwardly but feel free to explore in another version of ourselves. There was something about the intensity of red that felt connected to the sounds I was drawn to, almost as if the color carried the same energy as the music.

Some images feel more intense or confrontational, while others are quieter and more ambiguous. I was interested in how something as simple as a shift in color or shadow could completely change the mood of an image, or even the way we interpret the person within it.

MOVEMENT & IDENTITY

Movement was one of the ways I tried to interpret sound without relying on anything literal. I wanted the body to respond to the feeling of the music, whether through tension, stillness, repetition, or physical interaction.

With each volume came a different interpretation of that relationship. I wasn't necessarily trying to recreate the same feeling throughout the series, but rather explore how different sounds could influence the way a body moves, interacts, or occupies a space.

At the same time, I was exploring the idea of a second identity, a version of ourselves that might feel unfamiliar but still exists somewhere within us. I was interested in how movement could reveal parts of ourselves that we might otherwise keep hidden, and how the body could become a way of expressing something that doesn't always have the words to describe it.

THE MEDIUM

Photographing the entire series on 35mm and 120 film was an intentional choice. Film has a way of introducing its own characteristics into an image, from the grain and blended colors to the way it captures light. There is also an element of unpredictability that I relish, especially when working with movement and experimental compositions.

Not being able to immediately see the results allowed me to stay focused on what was happening in front of the camera. Film has always been my medium of choice, and with that came a familiar yet risky way of creating beauty.

Film is raw and unforgiving at times, but it forced me to be more intentional with how I aimed to capture the mood. Every frame carried a certain amount of uncertainty, and I think that uncertainty became part of the creative process itself. I wasn't always looking for something technically perfect, but rather an image that captured the feeling I was chasing.

03 / PRINTED MATTER

An exploration of the exhibition beyond the photographs, through print, texture, and physical design.



I wanted SECOND SKIN to exist beyond the photographs themselves. From the beginning, I found myself thinking about the smaller details of the exhibition and how I could carry its visual identity into something physical.

The invitations became an opportunity to experiment with layering different materials, textures, and imagery. I liked the idea of creating something that wasn't immediately revealed at first glance, but instead invited people to interact with it, uncovering different elements as they went.

Much like the photographs, I wanted these pieces to feel intentional, tactile, and a little unconventional. It was another way for me to explore the relationship between what we see, what we touch, and how we experience something.

04 / THE EXHIBITION

To see the sound and to hear the image.

SECOND SKIN was designed to be experienced beyond the photographs themselves. Music played an equally important role in the exhibition, not only as the inspiration behind the work, but as another way for visitors to engage with it.

Throughout the gallery, headphones were positioned alongside selected photographs, inviting visitors to listen to the sounds that helped shape the imagery. These listening stations created a more intimate experience, allowing each person to explore the relationship between sound and image at their own pace.

The installation brought the visual and auditory elements of SECOND SKIN together in one space, offering a glimpse into the sounds, movements, and ideas that influenced the project from its earliest stages.

Photos captured by Kyndal Jackson
Florals made by Table Manners


05 / SOUNDSCAPE

How do you translate sound into something physical? 

Music was the starting point for SECOND SKIN. Before I knew exactly what I wanted the photographs to look like, I had a feeling of what I wanted them to sound like.

I spent a lot of time exploring different sounds and genres, particularly electronic music, and imagining how they might translate into colors, textures, and movement. I was less interested in interpreting lyrics and more drawn to the rhythm, energy, and atmosphere of the music itself.

Throughout the process, I kept these tracks playing during shoots and while editing the photographs. They became a sort of map for the series, influencing how I approached each volume and helping me build a world that existed somewhere between what I was hearing and what I was imagining.

This playlist is an invitation to experience SECOND SKIN through the sounds that helped shape it.

You've seen what I heard. Now listen for yourself, now on Spotify. 

06 / ARTWORK INQUIRIES

SECOND SKIN — 2026



COLLECT SECOND SKIN


Selected photographic works available for collection.
Original exhibition pieces and newly produced prints are available by inquiry. For pricing, dimensions, framing, and availability, please get in touch.

INQUIRE ABOUT ARTWORK 


07 / BEHIND THE SCENES


A collection of moments from behind the scenes, documenting the people, experiences, and everything that went into bringing SECOND SKIN to life.

SECOND SKIN was a project that came together over months of planning, experimenting, and figuring things out as I went. Each shoot brought something different, whether it was an idea I had been sitting on for weeks or something that happened unexpectedly in the moment. There was a lot of trial and error, a lot of improvising, and a lot of moments where I wasn't entirely sure how things would turn out. I think that's what I enjoyed most about the process, allowing myself the freedom to create without always knowing what the final result would look like.

Although SECOND SKIN is a deeply personal project, I could not have brought it all together on my own. I'm incredibly grateful to my friends, models, and everyone who gave their time, energy, and creativity throughout this process. Whether it was helping on set, sharing ideas, lending a hand during the exhibition, or simply trusting me enough to try something a little unusual, you all played a part in bringing this world to life.

A special thank you to Dunwoody Photo for the film development, scanning, and printing that helped bring these photographs to their final form. I'm especially grateful for the care and support throughout this process and for helping me turn months of work into something tangible.

Thank you, endlessly.                            

Behind the scenes, captured by my dear friends, Nylah Julmice & Cindy Lopera