Ecuador President Daniel Noboa and his wife Lavinia Valbonesi arrive for the Presidential Inauguration of Donald Trump at the Rotunda of the U.S. Capitol in Washington, U.S. January 20, 2025. (Photo by Evelyn Hockstein/Reuters)

A werewolf sculpture looms over an “Altadena – Not For Sale!” sign on a property destroyed by the Eaton Fire, Monday, February 17, 2025, in Altadena, Calif. (Photo by Chris Pizzello/AP Photo)

Actress Violet McGraw, who played Cady in the film M3GAN, attends CinemaCon 2025 – Universal Pictures and Focus Features Invites You to a Special Presentation Featuring Footage from its Upcoming Slate at The Colosseum at Caesars Palace during CinemaCon, the official convention of Cinema United, on April 2, 2025, in Las Vegas, Nevada. (Photo by Alberto E. Rodriguez/Getty Images for CinemaCon)

American actress and model Carmen Electra, 53, in the last decade of September 2025 showed off her fit figure in the skimpy outfitю (Photo by carmenelectra/X)

«Maraatack». Barrio Alto, Almería, Spain. Ribeira took the photographs for her Agony in the Garden series in her native Spain, between 2021 and 2023. (Photo by Lúa Ribeira/The Guardian)

Children guarded by Hungarian police play on the ground after being detained along with other migrants who illegally crossed from Serbia to Hungary near the village of Asotthalom, Hungary, September 16, 2015. (Photo by Dado Ruvic/Reuters)

Reuters multi-award winning photographers are celebrated here in a three part retrospective on the 30th anniversary of the service's launch. They have captured dramatic images illustrating the human tragedy of natural disaster and war as well as the fallout of economic events across the continents, creating iconic images, recognised around the world. Here: an injured soccer fan is carried to safety by a friend after a wall collapsed during violence between fans before the European Cup final between Juventus and Liverpool at the Heysel stadium in Brussels, May 29, 1985. 39 people died, and a further 600 were injured. (Photo by Nick Didlick/Reuters)

From a height of three meters, porcelain figurines are dropped on the ground, and the sound they make when they hit trips the shutter release. The result: razor-sharp images of disturbing beauty—temporary sculptures made visible to the human eye by high-speed photography technology. The porcelain statuette bursting into pieces isn't what really captures the attention; the fascination lies in the genesis of a dynamic figure that replaces the static pose. In contrast to the inertness of the intact kitsch figurines Klimas started out with, the photographs of their destruction possess a powerfully narrative character.