A surreal, bleak portrait of a woman whose head is connected to an alien device through the back of her head by a cable, sits in an anabiosis chair, her face a fusion of organic and mechanical elements in the traditional biomechanical style. A close-up shows a biomechanical mask ingrown into her skin, a grotesque but beautiful fusion of flesh and metal. The mask seems almost alive, made of a nightmarish mixture of organic tissue and cold, industrial materials - wires and cables intertwined with veins and tendons wrapped around her jaw and temples. Metal plates, some rusted, others gleaming, flow seamlessly into her pale, ghostly skin, creating a disturbing but mesmerizing symmetry. Her black hair, tightly tied in a knot, contrasts with the twisted metallic and organic tendrils stretching from the mask, some of them running down her neck. Dark twilight barely illuminates her face, in place of eyes were smooth depressions to give the portrait an elegant horror. The fusion of flesh and machine, organic and metallic creates an unsettling, dystopian beauty where the boundaries between life and technology are blurred. The intricate details of the mask with its alien, otherworldly design convey the dark essence of biomechanical art, and the woman's face is frozen in a moment of suffering