Negligee (2013) serves as an example of this tension, with its artful angle and play with shadow and light upon the sensual subject, rendering the image ambiguous. Like much of Burton’s work, Negligee reflects both his experience as a commercial photographer and his interest in the voyeurism, desire, vulnerability, and power of the photographic act.
In Eniko Mihalik (2012), the camera captures a glimpse of the eponymous Hungarian model as seen through a rearview mirror...