This sculpture approaches the human face as a study in reduction rather than revelation. The form rises like a tall column, but its height is not used for drama; instead, it becomes a clean surface where the faintest incisions define eyes, nose, and lips. The face does not try to emote; it simply exists as a deliberate arrangement of lines, almost like a sketch translated into stone.
The upper edge breaks into an uneven contour, giving the impression of a fragment preserved from a larger whole. Instead of suggesting incompleteness, the irregular top frames the face below, directing attention to the disciplined minimalism of the features.
What gives this piece its distinctive character is the vertical sweep of natural grey pigment running through the marble. It reads less as a metaphor and more as a material truth- the stone’s own biography, left visible. The dark band at the base creates a strong visual anchor, allowing the tall form to feel steady without needing extra ornamentation.
Displayed in a room, the sculpture functions almost like a design object: sculptural, graphic, and striking in its restraint. It does not ask for an emotional reading; it offers clarity, proportion, and a contemporary aesthetic built on the elegance of subtraction.
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