2024 | Oil on canvas | 240x120 cm
SELF-PORTRAIT
«The most perfect form is born where movement comes to rest, revealing the architecture of the soul.»
2024 | Oil on canvas | 240x120 cm
SELF-PORTRAIT
«The most perfect form is born where movement
comes to rest, revealing the architecture
of the soul.»
comes to rest, revealing the architecture
of the soul.»
In a space of deep indigo, on the border between light and shadow, an image is born — not merely a figure, but an embodied meditation on form and essence. The body, bathed in sculptural light, attains a statuary completeness: the graceful line of the back, the graphic three-quarter silhouette, the play of reflections on the skin. In this silent movement — a slight turn of the profile with closed eyes and a barely perceptible rise onto the toe — lies the entire inner dynamic of stillness. The artist depicts himself not as an object but as a subject of silence, engaged in dialogue with his own 'I.'
The center of this universe becomes a scarlet stream of fabric — a velvety-burgundy accent flowing from the hands, covering the chest in a gesture of both concealment and revelation. Its train, extending beyond the canvas, is like a thought or a breath connecting the figure to an unseen space. The frozen grace of form is set off by the monogram 'S' in the background — not merely an initial, but a sign of the eternal present (Semper) into which the moment is placed. It is a harmony of contradictions: sensuality without vulgarity, candor without vulnerability, living flesh cast into the perfection of a timeless idea.
SOLD
The center of this universe becomes a scarlet stream of fabric — a velvety-burgundy accent flowing from the hands, covering the chest in a gesture of both concealment and revelation. Its train, extending beyond the canvas, is like a thought or a breath connecting the figure to an unseen space. The frozen grace of form is set off by the monogram 'S' in the background — not merely an initial, but a sign of the eternal present (Semper) into which the moment is placed. It is a harmony of contradictions: sensuality without vulgarity, candor without vulnerability, living flesh cast into the perfection of a timeless idea.
SOLD
In a space of deep indigo, on the border between light and shadow, an image is born — not merely a figure, but an embodied meditation on form and essence. The body, bathed in sculptural light, attains a statuary completeness: the graceful line of the back, the graphic three-quarter silhouette, the play of reflections on the skin. In this silent movement — a slight turn of the profile with closed eyes and a barely perceptible rise onto the toe — lies the entire inner dynamic of stillness. The artist depicts himself not as an object but as a subject of silence, engaged in dialogue with his own 'I.'
The center of this universe becomes a scarlet stream of fabric — a velvety-burgundy accent flowing from the hands, covering the chest in a gesture of both concealment and revelation. Its train, extending beyond the canvas, is like a thought or a breath connecting the figure to an unseen space. The frozen grace of form is set off by the monogram 'S' in the background — not merely an initial, but a sign of the eternal present (Semper) into which the moment is placed. It is a harmony of contradictions: sensuality without vulgarity, candor without vulnerability, living flesh cast into the perfection of a timeless idea.
SOLD
The center of this universe becomes a scarlet stream of fabric — a velvety-burgundy accent flowing from the hands, covering the chest in a gesture of both concealment and revelation. Its train, extending beyond the canvas, is like a thought or a breath connecting the figure to an unseen space. The frozen grace of form is set off by the monogram 'S' in the background — not merely an initial, but a sign of the eternal present (Semper) into which the moment is placed. It is a harmony of contradictions: sensuality without vulgarity, candor without vulnerability, living flesh cast into the perfection of a timeless idea.
SOLD
