Three Reliquary Heads

In these three heads, I worked by accumulation and covering. I superimposed pearls, rhinestones, mask fragments and lace, sewn and glued directly onto the mold, until the original face disappeared. Each head becomes a dense, almost vibrating surface, where light settles, catches and circulates. I love this patient gesture that transforms the face into a territory: it's no longer an identity, but a memory, a protective adornment, like a contemporary relic between fragility and preciousness.