Bianca Mann (b. 1991) lives and works in Bucharest. She has been interested in her recent projects in the subject of identity, based on two elements – the mask and the spot – the latter being used as both an opportunity to talk about what psychologists call blind spots and as a formal element bearing the similarities with inkblots used in the analysis of the perception of images to determine one’s personality.

In her works Bianca Mann describes the identity of man, that torn apart by the array of roles imposed by society, by the domestic environment, or simply by inner tensions, becomes a scene where different characters perform different acts while wearing the same mask.


In Mann’s works, the artistic statement reads more as an invitation to peruse the multitude of possibilities in understanding human being as a “play in progress”. Each sculpture seems to comprise an ample collection of the same entity’s projections to a fascinating effect.
“If one begins to understand the human being as a theatrical spectacle, then one begins to realize that one mask leads to another mask, not to a genuine and unchanging essence of the self. Each one is many.” (Philosophy, Art, and the Specters of Jacques Derrida, by Gray Hochhar-Lindgren)