The face is a central organ of personal identity. Through it, we can communicate human expression, feelings and characters in the blink of an eye. On a deeper level, the face can be an art form that speaks to a universal understanding of the mind. Olivier De Sagazan uses the face to shake up conventions. He exposes human crudity and is interested in cultural taboos. Sagazan's work cannot be fixed by language but by raw emotion. His unsettling performances depict visions of primitivism, agony, the occult, and other forms of ancient cultural art that cover or distort the face in ways that can be both beautiful and confronting. Makes us ask ourselves: “What are we?” Humans? Or animals? Or savages? A conventional face represents an idealized self-portrait. In “Transfiguration”, Olivier de Sagazan constructs an existential performance based on layers of clay that he paints on his face and body to transform, disfigure and separate his own silhouette from the physical world which constrains his emotions and passions. Bring viewers out of ordinary thought patterns. The Face of Sagazan tests its viewers' perceptions of the totemic face, the grotesque face, the face in performance, the violent face, while creating a dialogue between the past, the present and what is yet to come. His concern with the diversity of facial expressions and with the expressiveness of body language is a conscious way of breaking taboos against what is ugly, absurd or instinctive. Sagazan's performance explores extreme emotional states provoking more questions than answers. The contemporary movement of "primitivism" in design and art examines objects that will become ritualized, covered with another spirit or energy, thereby incorporating them into a soul. Primitivism is, middle of paper, pure philosophy. It's an anecdote, it's someone's memory. In this sense, each representation of Transfiguration here is perhaps a form of self-portrait, but Sagazan complicates this dynamic by also transforming himself into a subject. He embodies the primitive in his work and therefore becomes Bacon's subject as well as his own. He is at the same time the subject, the object and the story of the portrait. We carry with us our past, the primitive and irrational mind with its inner desires and emotions, and only with enormous psychic effort can we detach ourselves from it. this burden. And when the masks collapse as in the transfiguration of Sagazan, there is our shadow to remind us that we are the monsters. Ultimately, it's like a process of recovery and discovery, a way of adopting a role, of playing a raw character, of painting our self-portrait..