From 1993 until his death, Lynch focused on the human figure exploring issues of identity, the psychological aspects of communication and the function of photography in our contemporary paradigm of technology. His series “No Dice Nada, No Toca Nada” experimented with the 1864 carbon print technique for his production, which is a complex process capable of making exquisite archival prints with a wide tonal range. He produced close-ups of faces and hands using shallow depth of field, dramatic lighting, and a focus on detail. In the series “Identities,” Lynch plays with slivers of light on an otherwise dark face. The pieces become very abstract, relating to Lynch’s lifelong fascination with masks.