The artist, in blue face paint, was first photographed from various perspectives along a 180-degree plane. The blue ground provides a surface marker onto which new textures can be digitally assigned. The artist's facial anatomy was then imported into 3D software package Cinema4D.
The masks were built on Styrofoam heads by hand and then photographed in light conditions similar to those of the artist's portrait shoot. For the 3D crystals, the team grew real crystals from a child's science kit on expanded polystyrene head. The photographs were then enhanced with 3D imaging.
The Styrofoam head textures were transferred onto the artist portraits.
Characteristic elements of the artist's face, like wrinkles, the nose and chin, were modeled onto the transferred texture, which is relatively abstract alone.
The finalized heads were then positioned together in one image.
Light and shadow were added to make the heads look like they were photographed together.
More details were added to relate the faces to one another, like small blossoms across a cheek, the bee over the flowered face or maggots crawling on the razor blades.