Far from wanting to mortify figurative painting, the artist reaches iconoclasm to reawaken subjects from their torpor. The removal of the integument, which leaves a trace of itself on the copper plate, makes the face of the figure inscrutable to be able to divert us to the only other look, the petrified one that is at the top of the fingers. The impossibility of being able to read the entirety of this painting plunges us into a pain, both acute and atrocious, which corrodes tradition.