¹ The relief is mounted on a panel covered with thin slices of brick. Familiar from domestic interiors and reception rooms of the 1970s, this cladding evokes the warmth and solidity once associated with exposed masonry. For those who grew up with such interiors, it may carry an intimate memory of childhood. Yet its apparent solidity is an illusion: the bricks form a surface, bearing no structural weight.

This relief in unfired clay takes a historical medical photograph as the starting point.  The photograph records a child whose eyes are obscured by a bar to conceal their identity. Intended to document a physical abnormality, it also preserves something incidental to its clinical purpose: a quiet, almost serene arrangement of the hands, suggesting prayer.

Translated into clay, this gesture acquires a different presence. The figure remains deliberately unfinished and unfired, its surface susceptible to cracking, deterioration and change. This fragility extends to the image itself, suspended between a medical record and a devotional representation.