In these analog photo-collages, the cut is both method and subject. Assembling self-portraits with archival fragments and cinematic stills, I create re-photographed compositions where incisions remain visible, lending a raw materiality to the image. Here, the cut is a precise point of encounter—a limit where meaning emerges through the friction of materials. Through repetition and fragmentation, the body appears as an “excess,” disrupting the notion of a unified self. These second_skins propose a mode of “being-with” on paradoxical surfaces, open to the constant possibility of transformation.