INTO YOUR HANDS II
Into Your Hands II is a powerful visual narrative of constraint and surrender by Erimarz. A shirtless man stands engulfed in limbs that grip, pull, and silence him — hands, not his own, covering his mouth and crossing his chest. It’s a visual allegory for the weight of expectation, the silencing of truth, and the internal battle for autonomy.
The contrast of expressive anatomy and stark white background amplifies the emotional tension in the piece. Rendered entirely in blue, the figure becomes timeless, universal, and unflinchingly human.
This is an essential piece for collectors exploring themes of masculinity, vulnerability, and identity in contemporary African art.
Into Your Hands II is a powerful visual narrative of constraint and surrender by Erimarz. A shirtless man stands engulfed in limbs that grip, pull, and silence him — hands, not his own, covering his mouth and crossing his chest. It’s a visual allegory for the weight of expectation, the silencing of truth, and the internal battle for autonomy.
The contrast of expressive anatomy and stark white background amplifies the emotional tension in the piece. Rendered entirely in blue, the figure becomes timeless, universal, and unflinchingly human.
This is an essential piece for collectors exploring themes of masculinity, vulnerability, and identity in contemporary African art.
Into Your Hands II is a powerful visual narrative of constraint and surrender by Erimarz. A shirtless man stands engulfed in limbs that grip, pull, and silence him — hands, not his own, covering his mouth and crossing his chest. It’s a visual allegory for the weight of expectation, the silencing of truth, and the internal battle for autonomy.
The contrast of expressive anatomy and stark white background amplifies the emotional tension in the piece. Rendered entirely in blue, the figure becomes timeless, universal, and unflinchingly human.
This is an essential piece for collectors exploring themes of masculinity, vulnerability, and identity in contemporary African art.
