At a conceptual level, our masks can be understood as visions of the co-evolution of human body and technology, postnatural synthesis of natural and artificial elements, radical new identities. Each design is based on a specific relation between formation and body - ranging from symbiosis, prosthetic augmentation, protection, to parasitic dependence, and deconstruction.

The Eroded Head is not a mask in the general sense. Nonetheless, it is as artefact that supports a question of identity, a transformative operation on the human figure.
The project is part of a wider research on synthetic erosion, which started with the observation of rock formations, their visual richness and poetics, found in different locations around the globe - the red deserts of Jordan, mangrove coastlines in the Philippines, the dramatic cliffs of Wales, the Italian Alps.
I am intrigued by how wind, water, heat shape the hard material, creating formal articulation by deconstructing a solid substrate, which progressively incorporates information, traces of these forces. A very sculptural principle, although there is not a pre-existing idea of what will be carved out of that initial block of material, nor a perfect figure waiting to be unveiled, just forces at play, blind to the outcome of their production.
Together with such forces, It is almost as if another unseen, Time itself, became visible, through highly complex, ever changing patterns of deconstruction and decay.

The Eroded Head was then conceived by an intuition - erode the human figure; the body as a geological entity of hard material, rather than flesh and blood; transfer the visual space of natural erosion to the human body. While encoding the erosive process as a synthetic, digital operation.
I wanted the Eroded Head to be an aesthetic statement which is general, unbound from the biographic specificity of individuals; the face is then featureless, to recall a general human figure, independent from a specific gender, age, character, or ethnic connotation.
The formation is composed by approximately forty thousand unique elements. Their section is the same, while length and displacement change according to a complex pattern, whose perception changes extensively with the angle and perspective of the observer.

I believe this artefact poses questions regarding the relation between ideas such as natural and artificial, digital and material, whether their traditional distinction and opposition is still valid, and how their reformulation becomes operational in constructing new human identities.
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