Jas de Bouffan, as well as its surrounding gardens and distant horizon, is the surprising springboard for "Sunblinded," in which two figures by the shore rest in steep perpendicular incline, an exaggeration of Cézanne’s tilted portrait of the home and its grounds. Following her natural instinct to narrativize abstract form, she imagined that the house was a person, an oversized male figure laying on his back. She countered this diagonal form with another diagonal, a female figure who recedes in size as she moves closer to the lower right, with her head touching a body of water. The blue horizon line and two shovels are all that is needed to indicate a beach, matched by the figures’ clothing and the way they dramatically shield their eyes with their hands. The female figure’s feet reference a photograph of the artist’s own feet, becoming “objects of contemplation for the reclining female.” The inclusion of the snake slithering across the grid suggests an element of danger, yet also provides witty relief from the strictly angular composition. The pencil grid in one point reverse perspective amplifies the constructed artificiality of the scene, reminding Larsen of traditional Japanese Bunraku theater, in which there is no concealment of the puppeteer.