Lídia Vives - In my head





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Has over ten years of experience in art, specialising in post-war photography and contemporary art.
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Description from the seller
Impression and authenticity
Fine Art print on Hahnemühle Baryta paper with an ultrashiny finish.
Delivered signed and numbered, with a certificate of authenticity.
Edition
Limited edition 7/7. Last edition available in this size.
Shipping
The artwork is shipped in a rigid envelope or tube depending on destination.
Includes cotton gloves and a signed postcard.
Self-portrait.
ABOUT THE WORK — In my head
In my head is part of the series The Stages of a Heartbreak and functions as its opening piece. The work draws inspiration from the Spanish expression “tener pájaros en la cabeza,” associated with an overflowing imagination and that tendency to build stories bigger than reality.
Here, that idea becomes a metaphor for the first stage of falling in love: the moment when we idealize the beloved, see them as flawless, and project our desires onto them to the point of losing perspective. The portrait, in black and white, builds an ethereal atmosphere where birds emerge as symbols of persistent thoughts, fantasies, and expectations that overlay the real.
The image invites us to recognize that phase in which love changes the gaze: we do not see what is, but what we want to see.
Seller's Story
Impression and authenticity
Fine Art print on Hahnemühle Baryta paper with an ultrashiny finish.
Delivered signed and numbered, with a certificate of authenticity.
Edition
Limited edition 7/7. Last edition available in this size.
Shipping
The artwork is shipped in a rigid envelope or tube depending on destination.
Includes cotton gloves and a signed postcard.
Self-portrait.
ABOUT THE WORK — In my head
In my head is part of the series The Stages of a Heartbreak and functions as its opening piece. The work draws inspiration from the Spanish expression “tener pájaros en la cabeza,” associated with an overflowing imagination and that tendency to build stories bigger than reality.
Here, that idea becomes a metaphor for the first stage of falling in love: the moment when we idealize the beloved, see them as flawless, and project our desires onto them to the point of losing perspective. The portrait, in black and white, builds an ethereal atmosphere where birds emerge as symbols of persistent thoughts, fantasies, and expectations that overlay the real.
The image invites us to recognize that phase in which love changes the gaze: we do not see what is, but what we want to see.
