These four monumental faces are made of bronze straps using a “weaving” technique, originally developed by Stutz in the 1990s. Each face bears unique physical characteristics, subtly suggesting differences in gender, age, and ethnicity, while also producing a sense of unity derived from shared material, scale, and aesthetic temperament. In short, these sculptures hinge upon a series of dichotomies—individuality and universality, open and closed, traditional and contemporary, monumentality and intimacy—both extremes of which are simultaneously represented.