Bickford Morphing Clay Topology (Style-Only, Image-Conditioned)

Re-render this image as one frame from a Bruce Bickford-inspired stop-motion clay metamorphosis, photographed on a real miniature set. Keep the original subject and arrangement perfectly recognizable, but model every form from thumb-sized lumps forced into one another: ridges of excess plasticine squeeze from joins, blunt wire-tool scores expose different-colored inner layers, and rolled coils cling to the edges like unfinished growth. Show the suggestion of transformation through layered surface strata rather than adding figures or rearranging the silhouette. The clay should buckle and wrinkle under pressure, with fingerprints crossing the folds and chipped fragments resting in the set's shallow recesses. Nothing is mathematically smooth or mirror-symmetric. Use saturated brick orange, bruised purple, chalk white, and olive, mixed imperfectly so seams remain visible. A close practical lamp casts hard little shadows under every protrusion; the back wall is painted cardboard with a crooked edge. Make the major outline bold enough to read at 1024 pixels despite dense local texture. This must look physically kneaded between exposures: no slick CGI morph, no procedural tentacles, no glossy render, no seamless mesh, no clean digital blur. Leave a calm, uncluttered band of negative space along the top or bottom edge where a title could sit. Strictly no on-canvas text, no legible lettering, no signature, no watermark, no logos. Preserve the subject, pose, and composition of the source image exactly, change only the medium and rendering. Aspect ratio matches source.