Insides plays with irony and double meaning—the physical inside and the emotional one. A dissection of the human condition in its permanent duality: body and spirit, matter and soul. We are chemistry—fibres, cells, tendons—but we are also emotion and connection, a soul in relation to other souls, charged with an intensity that can be pushed to its limits. The result is always an eruption: visceral, chemical, alive.

The gesture is simple and radical: to look inward. Not toward the symptoms of the outside world, but toward the intimate mechanisms that sustain us. Insides moves between decomposition and regeneration, crisis and plenitude—a state of constant transformation that reminds us that life is never static, but is always process, transition, becoming.

As a performative extension of the collection, the press kit became a ritual: a box containing glass slides, each holding a single drop of my own blood: a contemporary relic, an act of offering, a private liturgy; a real fragment of myself, transformed into work, into testimony; a tangible proof of life that also functions as a metaphor for vulnerability and generosity. To preserve that drop is to keep a shared secret—part of my interior offered as liquid memory, intimate and sacred.

The prints originate from microscopic images of the human body: red blood cells, muscle fibres, leukocytes, tendons. Invisible textures translated into fabric—hidden structures that, once brought to the surface, turn the exterior of the body into a reflection of what lies beneath.

To see the inside made visible is a revelation: the possibility of seeing ourselves differently. Insides is a reminder that the physical and the spiritual do not oppose one another, but pulse together in every fibre. An invitation to recalibrate the gaze—to recognise oneself from within in order to appear, fully, without.