In this performance, my hands, covered in silver powder, move slowly in front of my face.

Through layering, erasure, and repetition, forms appear, transform, and disappear.

Depending on individual perception, they may evoke archetypes or mythical faces: Solomon, Shiva, the pharaoh, sorcerers, shamans or kings, the Statue of Liberty, or even certain icons from religious imagery such as Christ or the Virgin Mary.

These apparitions refer to a multitude of images of power sacralized by various cultures. The silver and gold material captures the light and lends the gestures a precious quality that evokes the sacred surfaces of numerous visual traditions: icons, statues, reliquaries, or ritual adornments. The hands then become luminous fragments that compose, around the face, a succession of possible images, offered for the viewer's interpretation.

After this journey through symbolic forms associated with different representations of power, the gaze returns to the still face, stripped of all projection. The simple presence of the face reappears. The images sacralized by culture dissolve. The performance then suggests that these figures of power may be merely constructs of perception, and that the source of this power can also be recognized in each individual's inner presence, as an intrinsic force to be developed.

This revelation emerges from the perceptual process itself. The performance does not seek to establish these images within an authority or hierarchy: their appearance depends on each individual's gaze and cultural imagination. They are born, recomposed, and dissolve in movement. What is then revealed is not a series of fixed images, but the very process by which they are formed—a play of gestures, light, and superimpositions that makes perceptible the way in which the mind constructs and dismantles figures.

My face remains still, presented head-on, while the hands move slowly in front of it. The movement is deliberately slowed and repeated, so that the trace of the gestures persists briefly in the image. Through superimposition and gradual erasure, the hands seem to multiply around the face, producing an effect akin to chronophotography, those decompositions of movement explored at the end of the 19th century by Étienne-Jules Marey, where the body's displacement becomes visible through successive traces of the gesture.

This superimposition transforms the gestures into a moving visual material. The hands trace configurations that compose and recompose themselves over time, revealing fleeting forms. Faces then seem to emerge, transform, and disappear.

They are never explicitly represented. They appear through the interplay of gestures, light, and the perceptual activity of the gaze. The hands act as visual fragments which, by superimposing themselves, allow the brain to reconstruct possible faces. The image thus becomes a space for projection where perception assembles forms from partial clues.

The slow, repetitive rhythm of the gestures establishes a particular temporality. As attention stabilizes, certain forms become perceptible and then disappear almost immediately. The gaze oscillates between recognition and dissolution, revealing the very process by which the mind projects images from fragments.

The silver powder accentuates this phenomenon. By capturing light, it transforms the hands into reflective surfaces that compose ephemeral contours around the face. The movement thus produces an unstable, luminous substance where forms continually appear and disappear.