This head is marked by a net of wire and plant fibers clinging to its outline like a fragile cage. The face seems both trapped and protected, with fissures and hollows reminiscent of scars. A delicate feather on the top brings a poetic contrast, suggesting escape and freedom.
Within 100 Faceless Heads, this piece questions the tension between constraint and lightness, captivity and liberation. Rusted metal, symbol of chains and oppression, coexists with the feather, symbol of fragility and dream.
The work evokes the social, political, and historical constraints that enclose human beings, but also their ability to find, even within confinement, openings toward imagination and hope. The feather becomes a metaphor for resilience and lightness in the face of matter’s heaviness.
A sculpted memory, a universal story
The “100 Faceless Heads” collection brings together one hundred unique sculptures, hand-shaped in terracotta and rusted metal. These works embody the invisible faces of our collective history: undocumented migrants drowned at sea, victims of slavery, the forgotten of genocides, the nameless whose memories fade away.
Each of these heads, deliberately devoid of features, symbolizes a life, a past, a suspended story. Faceless, they become the silent bearers of individual and collective memories, inviting us to reflect on our shared humanity.
Through this series, the artist calls on us to recognize these erased lives and to rebuild bridges between past and future. “I raise a glass to the undocumented who perish in seas and deserts, I denounce the macabre thunder of cannons and wars…” he declares, expressing the emotional and political power of this work.
“100 Faceless Heads” is far more than an art collection: it is a sculptural photo library, a call to memory, to dialogue, and to a deeper understanding of our common roots.
Passionate about collective memory and questions of identity, the artist works with clay and metal to give form to what is often invisible or forgotten. Through the series “100 Heads Without Faces,” he offers a space for reflection and dialogue on the wounds of the past and the hopes for a more just future.
