A reclining figure traced in the lightest sanguine, the chalk barely pressing the paper. A few flowing lines indicate a hip, the ribs, the sweep of a limb — but large areas of the sheet are untouched, and the drawing lives as much in the space between marks as in the marks themselves. The figure is more suggested than stated. You can see where the chalk touched and immediately lifted, leaving a mark that tapers from the faintest red-brown into bare paper. This is a drawing made in single passes, each line laid down once and left.

There's a discipline in this lightness that is easy to underestimate. Working this sparsely in five minutes means every line has to be placed with a certain confidence — there's no accumulation to correct against, no density to bury a wrong mark in. The line either finds the body or it doesn't, and there's nowhere to hide. What's here does find it: the curve of the hip into the waist is caught in one continuous mark, and the ribcage is indicated with a few short strokes that locate it precisely without describing it fully.

What's more, this is the first of a series of sanguine drawings from the session's final round, and it sets a register that the subsequent ones will build from. The lightness here isn't tentative — it's deliberately open, as if the figure might resolve further or might already be complete. The drawing feels like breathing: present, unhurried, aware of the space it's leaving for what comes next.