This head, with barely sketched features, seems to emerge from a raw block. The eyes are reduced to two square protrusions, almost closed, as if refusing to meet the outside world. The mouth blends into the material, leaving a face that hesitates between appearance and disappearance. The rough surface recalls the texture of stone freshly unearthed.
Within the 100 Faceless Heads project, this piece embodies simplicity and restraint. It demonstrates that a face can exist without defined features, without recognizable details. It is a meditation on the boundary between the shaped and the shapeless, between individuality and anonymity.
This head evokes muteness and deliberate erasure. It questions our relationship to identity: when nothing is said, when nothing is shown, what remains of us? The raw material becomes silent memory, a testimony of humanity reduced to its most elemental form.
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.
