Inner Head stems from an almost obsessive focus on the miniature “head” and its multiplication, where individual identity loses its relevance. Instead, emphasis is placed on expression, repetition, and meticulous detail, reinforced by the use of colour, which oscillates between contrast and subtlety.

In this series, the heads take centre stage through the static and organised way in which they are presented as a group, yet they reveal themselves as intensely expressive, emotional, and sensory when observed individually, “head by head.” It does not matter who they are, their gender, or their name; what matters is capturing the emotion of each one, its immediate expression. The colour, present in all the pieces, does not aim at realism but instead translates inner sensations.

The purpose of these works unfolds through a dual experience of perception: on the one hand, they invite a global appreciation, supported by a broad view in which a refined geometric structure becomes evident, based on pre-established vertical and horizontal axes, approaching a near-systematic logic of standardisation.

On the other hand, they demand time. They require from the viewer a slow and almost exhaustive attention. The gaze is thus compelled to move closer and to traverse the work in detail, in a meticulous “head by head” examination, in a gesture that is almost akin to the obsession embedded in its conception.

Each unit, although integrated into a cohesive whole, asserts itself as an expressive singularity, forming an ensemble whose quantitative variation ranges, from work to work, between approximately 20 and 189 elements.

Taken as a whole, Inner Head establishes itself as an exercise in tension between the whole and the part, between order and intensity, where repetition does not dilute individuality but rather reveals it, compelling the viewer’s gaze to continuously oscillate between distance and proximity.