The rough oxidized surface of this head is pierced by nails and bolts embedded in the clay, entering the material like stigmata. The eyes, hollow and almost absent, intensify a sense of silence and restrained suffering. The piece embodies a wounded face, where memory is fossilized in rust.
Within 100 Faceless Heads, this sculpture stands out for its sacrificial character. It resonates both with traditions where iron symbolizes strength and memory, and with contemporary realities of bodies scarred by oppression and violence.
The nails situate this head within a symbolic register of crucifixion, constraint, but also resilience. The rusted metal acts as a seal of time, suggesting that pain can become memory, and that wounds, through oxidation, eventually transform into testimony.
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.
