Chronicle 02: In the Crucible – The mutation of matter.

Emergence: The dialogue with Plastiline

It all begins in silence and malleability. Plastiline is the organic phase, the one where the idea takes its first physical form. It is a melee with matter to define each relief, each curve and each expression. At this point, the mask is still vulnerable, but its expression is already fixed. This is where I seek the balance between traditional iconography and my own graphic vision, what I want to integrate into reality and what comes out of the unconscious.

The footprint: Silicone and supporting architecture

Then comes the moment of capture: molding. I trap the original sculpture in a silicone skin to capture the smallest detail, the slightest imprint. So that this mold remains faithful and does not deform under the weight of the material, I build a rigid screed, a support architecture in plaster or fiberglass. This is a crucial transition stage where we prepare the transition from the single model to the final part.

The Cast: Movement and freezing 

The birth of the definitive mask takes place in a form of voluntary confinement. For this step, I isolate myself. Alone in a space where I do not disturb and where I am not disturbed, to avoid asphyxiating those around me, my face protected by my mask, I begin a battle against time and against myself.

Resin casting is not a passive gesture, it is a perpetual movement. I set the material by patiently turning it inside the mold so that it fits every corner. It's a long moment, more than an hour of tension and concentration where you can't stop. In this meditative tête-à-tête with chemistry, it takes a willingness to go all the way for the piece to be perfect.

The requirement for detail: Dremel and finishes

Once unmolded, the piece is raw. Then begins careful adjustment work. I use Dremel and sandpaper to erase imperfections in the joint surface, refine the edges and restore sharpness to the object. It is a phase of dust and precision where the hand of the craftsman corrects the whims of the mold.

The Final Gesture: Patina and textile

The mask truly comes to life with the paint. I work with layers and glazes to create an aging effect, so that the object seems to have a story, an experience. But the care doesn't stop there. I design a specific support at the back to securely anchor a traditional rope.

The last gesture is a breath: I comb the rope for a long time to give it this silky and fluid appearance which contrasts with the hardness of the resin. It is this attention to detail, from the first imprint to the last combed thread, that makes each mask a unique piece.