Literally immersing myself in the work, I deal with the link between creator and creation. Making personal Death Masks, I register myself into the emptiness of my face’s negative casts that become an element of inversion, documenting fragility. Combining elements of traditional Greek funerary masks with techniques of Byzantine iconography, the gold leaf is applied by activating clay (allusive of flesh) with the humidity of my breaths. Extending this technique by wearing my death mask while being alive, I trigger the internal surface with my sweat in order for gold to attach in the points of contact between my body and artwork. A homage to Bruce Nauman’s ‘Venice Fountains’ (2007), the set of moulds becomes a metaphor of artistic virtuosity and intimate relationship of maker with the work, while commenting on the limits of production, creativity and purpose. The artist’s sweat and breath are sealed in the masks.