Sakkuraka✩ Portfolio SECOND SKIN About Work Together

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.