“We shape clay into a pot, but it is the emptiness inside that holds whatever we want.”
– Lao Tzu –

The mask recomposes the dualism between fullness and emptiness. On the front, it appears as a fullness, on the back it is an emptiness. On the front it appears, it shows itself, but its presence depends on what it denies, what it conceals or what determines its transformation: it depends on its cavity, its emptiness.

The sculptor carves and models what he has in mind to represent. The mask is thus a creative act of man who, through his film, internal and external, searches for himself and attempts to master his own complementary, contradictory drives and tensions. These swirl around the mask, slide along the smooth surfaces, penetrate into the recesses of the folds and expression lines; they are absorbed or reflected therein. The mask thus represents the possibility for man to explore his own universe, to dissect it, disarticulate it and recompose it into a new creature, representing something else. It brings with it, in a formal synthesis of convention and realism, those fixed features in which one can perceive and recognise something suggestive, a trace of one’s own experiences and a fragment of an archetypal nature. The mask’s function is not only to conceal but also to provoke or arouse particular emotions, and to transfer, bearer and spectator, into other dimensions.

We work on the full through the empty, trying to make visible what is internal and invisible.