Self Portrait #2 expands the character introduced in the first sculpture, revealing new facets through movement, posture, and performance. These frog-like figures are not just self-representations—they are also the pilots of the Victorian-style airships featured in the installation Longing. They come from a world of nostalgia, travel, and emotional distance, where every gesture tells a story.

Unlike the seated figure from Self Portrait #1, these versions come to life through theatrical and exaggerated poses. Each frog is caught mid-action: pointing dramatically, shielding their eyes in sorrow or contemplation, or caught in a whimsical dance. They evoke both elegance and absurdity, mixing seriousness with humor.

The outfits remain flamboyant and finely detailed: a mix of stripes, waistcoats, polished shoes, and flowing coats. They echo the same style language from Longing, enhancing the idea that these characters live across multiple works and narratives in my practice.

These frogs reflect my own multiplicity—my many moods, roles, and internal contradictions. By embodying them as characters that move through both sculpture and installation, I explore how identity is performative, transportable, and always in motion.