Maria Privalova lies on her back, head tipped toward the camera, gripping a wooden table leg overhead, by Natasha Skatnikova.
Maria Privalova reclines under a wooden table in underwear and a long-sleeve top, looking at the camera behind a table leg, by Natasha Skatnikova.
Maria Privalova sits on a leather sofa in a pinstripe bralette and matching trousers, barefoot, meeting the camera, by Natasha Skatnikova.
Maria Privalova sits on a chair, knees drawn to her chest under an oversized coat, looking away, by Natasha Skatnikova.
Maria Privalova leans against a windowsill, head tipped back and eyes closed, in a pinstripe bralette and trousers, by Natasha Skatnikova.
Maria Privalova reclines in a leather sofa in a white tank and jeans, legs up the wall, looking into the lens, by Natasha Skatnikova.
Maria Privalova leans on a wall in a white tank and loose low jeans, looking down, window lit, by Natasha Skatnikova.
Maria Privalova sits in a window nook by raised blinds, arm along a leather sofa, in a tank and jeans, by Natasha Skatnikova.
Maria Privalova lifts a window blind, knee raised, in a tweed jacket over a light top, gazing at the camera, by Natasha Skatnikova.
Diptych of Maria Privalova lying on the floor in a blazer and tank, then resting her head on her arm, by Natasha Skatnikova.
Maria Privalova holds her interlaced hands before her face, hair loose, maintaining eye contact, by Natasha Skatnikova.
Maria Privalova lies back on the floor by a radiator, eyes closed, hands in her hair, in a tank and open jacket, by Natasha Skatnikova.
Diptych of Maria Privalova reclining in a sheer striped top, beside a close backlit crop of her neck and hand, by Natasha Skatnikova.
Maria Privalova stands in profile against a mottled wall, hand on hip, in a polka-dot dress, by Natasha Skatnikova.

Maria Privalova works turned inward, eyes down or shut more often than not. The setting is a lived-in interior lit through a pair of windows whose blinds photographer Natasha Skatnikova keeps halfway down. The furniture works as set and prop, something to wedge beneath, brace against and sink into.

The model's attention runs to two poles. She either meets the lens straight on, as in the sofa portrait and the classroom chair with her knees pulled up, or her eyes are shut and her head has dropped or tilted back as she moves. The wardrobe moves through a long-sleeved top and underwear, a white tank and jeans, a pinstripe bralette and an oversized coat held closed over drawn-up knees. The dotted dress arrives last, a three-quarter turn where she holds the look and won't break it.

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