These interventions can range from charcoal and oil paint to the character's own urine, the use of pieces of hair and clothing, thus transcending the image
of a material that will one day cease to be; an extension of life portrayed by the transfer of the “soul” through the image.

These are mortuary portraits inspired by symbolism, a macabre imaginary of love for life and the desire to be more, as Philippe Áries would say; and according
to Hans Belting, the phenomenon of presence/absence gives the image an enigmatic facet that is explained, in part, by the contradictory relationship between the image and its support, which leads the author to its nature as a corporeal being.

Considering the origins of the portrait and its uses throughout history, this work was supported by the theoretical studies of Didi-Huberman, who proposes
that the portrait had its birth in the Paleolithic, when human skulls were filled and adorned by the living.

Would the portrait have been born paradoxically from the void, from a box full of holes, which is how we see the skull and the images it engenders?
Your memories of a life and the materialization of your body through photography.