In the workshop, it’s much more practical to work this way, with the head on a metal rod: all I have to do is move around it. It’s always at my eye level, so it’s at the right height. By being presented vertically, it is in a different relationship to the viewer. When a head is placed on a table, there’s a certain distance, as though you’re looking at another sort of object altogether. But when it’s a head facing us, it’s like a confrontation, like you’re looking at someone. It also gives the head a particular kind of power…

David Altmejd, in “L’espace intérieur” / interview with François Michaud and Robert Vifian, David Altmej : Flux (Paris: Paris Musées, 2014), p. 39.

Epoxy clay, polystyrene, expandable foam, plaster, glass eyes, synthetic hair, assorted minerals including quartz, acrylic paint

The Brant Foundation, Greenwich, Connecticut