Two moons meet in an embrace. One is full, round and complete. The other is a thin crescent, open on one side, as if waiting to be closed. Where their heads come together, the sliver fits into the circle, and the two bodies below fold into a single sculptural form, shoulder against shoulder, an arm wrapped close, a hand resting where the other can feel it. The full moon arrives as a dense field of fine scratches, its craters and seas held in a texture that seems to breathe. Beside it the crescent is a slender, bright arc cut from the same darkness, far quieter, but no less present. Between and below them the bodies stay almost entirely dark, two silhouettes that only reveal themselves at the edge, where the light finds a shoulder, a wrist, the curve of a held hand. The image lives in that difference, a glowing field of marks set against a deep black ground that refuses to give anything away for free. No paint. No print. No ink. The image is scratched into the surface of the acrylic glass, formed by removal rather than addition. It is always present, with or without direct light, it does not appear or vanish as you move past it. Light does not create the image. It sharpens it, so that under a changing angle the contrast deepens, the moons seem to gather more shine, and the dark body beneath them settles further into shadow. Up close the work dissolves into a field of individual marks, each one small and deliberate, building the pitted surface of a moon or the soft edge of a shoulder. Step back and it resolves again into one monumental, quiet gesture, two heavenly bodies holding each other the way only two incomplete things can. There is a symbolic charge in pairing a full moon with a crescent in an embrace between two bodies. One is whole, one is still becoming whole, and the piece suggests that intimacy is not two matching halves but two different phases finding a shape together. It continues the Art with Scratch series by Tijs Dragtsma, in which imagery is constructed through controlled surface damage rather than pigment or print, and in which the oldest symbols of longing and distance, the sun, the moon, the night sky, are given back their weight through the patience of the mark. A visual language where damage is not destruction, but structure. "Two moons, one embrace, and a light that does not ask to be noticed, only to be felt." About Art with Scratch Art with Scratch is a body of work in which the image is not drawn, but released. Carved line by line into a deep black surface, each work emerges through countless precise scratches that catch the light and bring form out of darkness. From a distance, the image appears almost photographic. Powerful, recognisable and full of presence. Yet up close, the work dissolves into a dense field of individual marks. Fine, fragile and almost weightless. What seemed solid reveals itself as a delicate web of lines, each one a deliberate gesture, each one essential to the whole. Light does not create the image. It sharpens it. The black surface absorbs, while the scratched lines reflect. As light shifts across the surface, the image breathes. From one angle the figure stands clear and defined. From another it softens and settles back toward the darkness from which it came, without ever disappearing. Under a focused spotlight, the contrast deepens and the image takes on a sculptural, almost luminous quality. What makes this medium so compelling is its quiet tension. The act of scratching is direct and irreversible. Every line is a decision that cannot be undone. Yet the result is not harsh. It is intimate, atmospheric and alive with movement. Hardness becomes softness. Destruction becomes creation. Absence becomes presence. In works such as this portrait, the figure is never fully fixed. Through the interplay of line, light and shadow, the image shifts with perspective and atmosphere. At certain moments, the subject seems to step forward out of the black. At others, it settles back into stillness. It is within that movement, between sharpness and calm, that the work comes alive. Like all materials touched by time, the surface carries its own quiet life. Each scratch holds a moment, a breath, a gesture. Together they form not just an image, but a presence, one that continues to reveal itself with every change of light. About the Artist My name is Tijs Dragtsma, founder of TD Fine Art Studio. As an artist, I am driven by a constant desire to explore new visual languages. I do not see art as a fixed style, but as an evolving field of discovery where material, structure, light and emotion come together. My work often begins with a simple question. How can a material speak in a new way. How can hardness become intimacy. How can precision create emotion. That search lies at the heart of everything I create. Within TD Fine Art Studio, each body of work is approached as its own world, with its own logic, atmosphere and visual identity. Some works are built through rhythm, repetition and structure. Others emerge through absence, shadow, reflection or tension. What connects them is a shared commitment to originality, clarity and emotional presence. I am fascinated by contrast. Between strength and fragility. Between control and feeling. Between what is visible and what is left open to interpretation. My goal is not simply to make an image, but to create a work that holds attention, invites reflection and continues to reveal itself over time. TD Fine Art Studio is the space in which these explorations come together. It is not only a studio, but an evolving artistic universe shaped by curiosity, precision and the ambition to create work that feels distinctive, intentional and alive. This listing contains AI-generated visualisations. Please refer to the original photographs to assess the actual condition of the object.