These cyanotype portraits consider the body as a vessel shaped by water and ancestral memory. The blue surface situates the figure within spaces of migration, spiritual passage, and historical movement, where visibility accumulates slowly. Faces and forms emerge through shadow and absence, resisting clarity in favor of quiet presence. Rather than functioning as likenesses, the portraits operate as artifacts, holding traces of inheritance, displacement, and return. The work frames portraiture as a site of communion, where past and present figure exists between material form and spiritual continuity.