In the first room of the gallery, three concrete sculptures are displayed on the wall, each one suggesting a male profile (alter egos of the artist) in which modeled parts alternate with unfinished parts. These works are paired with sheets of paper printed with poetic quatrains composed from the titles of Van Gogh’s paintings.
The juxtaposition of sculpture and word, of the weight of concrete and the lightness of paper, of the archetype of the face and the evocation of the existential charge of Van Gogh’s artistic practice, creates a hermetic device. The work relies solely on its vivid presence.
The installation finds its counterpoint in an etching and a text.
This diptych amplifies the installation’s suggestions through another language — that of the engraved mark on the plate — suggesting that the technique of etching is closer to sculpture than to drawing.

The second exhibition space is defined by four plaster sculptures, each one interpreting the archetype of the female face. The visage emerges from the plaster surface through a long process of addition and subtraction, in which the pictorial mark and the gesture are subjected to constant and rigorous scrutiny.
The works unfold within two poles — sculpture and drawing — creating a dynamic in which the boundaries of one technique spill into the other, restoring vigor to a deliberate formal ambiguity.
On the walls, a series of small works are displayed: black-and-white and color etchings, some of which later reworked with ball point and acrylic; two watercolors painted on cement panels; and a “meta-poem” that assembles the opening verses of some Emily Dickinson poems starting with “There is.”
A visual palimpsest comes to life, originating from a poignant and heartfelt exploration of the idea of painful beauty.

In the final room, a group of plaster sculptures is displayed, claiming the space in a single act.
In these works, the color range is reduced to zero, embracing the variations from the white of the plaster to the black of the graphite as the space in which the works live.
Black assumes a symbolic value, in its dual capacity to conceal and simultaneously reveal. The graphite mark amplifies by contrast the unfinished parts, delivering them to the whiteness of the material.
Through a process of deconstruction and reconstruction, the works reinterpret recurring motifs of the history of art — the bust, the drapery, the head — preserving only their initial memory and opening themselves to a new possible gaze.