FIRST WEEPING HEAD, SECOND WEEPING HEAD

The suspended busts, First Weeping Head and Second Weeping Head, are not traditional portraits but hybrid beings: hollow-eyed, open-mouthed, incised with marks that recall wounds, roots, or ritual scars. They expose their interiors, rejecting ideals of containment and surface. Beads are embedded in their forms like tears or memories—not decorative, but registers of feeling. Emotions are not dramatized, but internalized, carried through form. In contrast to the ceiling above, which encodes beauty through symmetry and myth, these works offer another kind of tradition: one in which identity is unstable, emotion is material, and the body is fragmented rather than idealized. They drift in a suspended state—neither fully fixed nor fully transparent, but porous. They do not commemorate; they suggest a threshold: where the body becomes landscape, and mourning a quiet act of becoming.