Too Much Head (2026, New York) begins with a single continuous line that draws a face into profile, spare and almost classical, until the eye fractures that calm with a sharp, architectural angle. The lashes flare like a warning signal, and the lips split into two stacked forms, as if the figure is caught between speaking and swallowing words back. With so little mark-making, the surrounding blankness becomes part of the portrait, heightening the tension. It reads as a quiet exterior holding a busy interior: a face reduced to essentials, yet still charged with thought.
Printed on museum-quality matte paper sourced from Japan.
