This project began with discarded pieces of wood collected from streets and construction sites. Rather than seeing waste, I saw unfinished surfaces waiting for a second life. Each piece was hand-cut into the shape of a skull, transforming abandoned material into a new visual language. Instead of using traditional brushes, the paint was applied with medical syringes. The enamel was slowly injected onto the surface, allowing gravity to dictate its movement. The resulting layers of dripping color became both texture and gesture, each skull carrying a unique pattern created through patience, repetition, and chance. The syringe, a tool normally associated with medicine and healing, became an instrument of painting, suggesting a transfusion not of blood, but of color, memory, and new life.

The series naturally evolved between two worlds. Some skulls were installed throughout the streets of Barcelona, becoming temporary interventions within the urban landscape. Others entered galleries and exhibition spaces, where the same works invited a slower, more contemplative experience. Moving freely between public walls and white cubes, the series rejects the hierarchy between street art and contemporary art, treating both as equally valid spaces for dialogue.

The work explores transformation on multiple levels: discarded wood becomes artwork, a medical instrument becomes a painting tool, a symbol of mortality becomes a portrait of individuality and reclaimed materials find a new context through artistic intervention. Positioned between street art, sculpture, and painting, each piece stands as a small act of recovery of materials, symbols, and forgotten places. The skull is stripped of its traditional association with death, becoming instead a universal portrait one that reminds us that beneath every identity lies the same human structure.