INFINITY is a meditation on identity, impermanence and the elusive nature of human presence.

Working directly with brass, Alina Gozin’a embeds a photographic portrait into the metal before painstakingly eroding its surface by hand.

Through this deliberate process of material transformation, the recognisable image begins to dissolve. Facial features recede into abstraction, leaving behind fragments, shadows and luminous traces of the person who was once clearly visible.

The resulting work exists between portraiture and abstraction, presence and absence, permanence and disappearance. Brass, a material associated with durability, paired with unexpected tension: an enduring surface carrying the fragile remnants of a human image.

The work explores time, memory and the instability of images. The surface is worked by hand, with the erosion shaping the final image through a process that cannot be entirely predetermined or mechanically replicated.

Rather than presenting the face as a fixed likeness, Gozin’a allows it to become an invitation to imagine.The portrait is no longer simply an image of another person; it becomes a reflection on how we see, remember and interpret one another.

INFINITY is an artwork about what endures when certainty disappears — the image dissolves, yet the human presence continues in the imagination.