This striking wall-mounted ceramic face (18 × 2 × 18 cm) explores the fluid dance between masking and unmasking—the ongoing process of discovering and reshaping who we are. Its scraped, fragmented surface reveals layers beneath the exterior, symbolizing the multiple facets of identity we both hide and reveal over time.

The bold yellow cheeks glow like sun and moon, embodying cycles of light and shadow, constancy and change. They evoke warmth, illumination, and the quiet power of transformation that accompanies self-reflection. The title Lunatics with Sunny Cheeks nods to the word “lunatic,” derived from “moonstruck,” highlighting the wild, unpredictable energy of the moon’s influence and the beautiful madness inherent in personal growth and change.

With a small opening at the mouth designed to hold incense or candles, the piece invites ritual engagement, grounding the personal journey of becoming in daily acts of presence and care. Two small holes at the ears enable secure hanging with golden nails, adding a subtle gesture of adornment and protection.

Through this work, Anna Riess invites viewers to confront the masks we wear, the truths we uncover, and the ever-shifting nature of the self—a celebration of change, vulnerability, and the luminous, sometimes wild moments in between.

Anna Riess is a multidisciplinary artist and cultural anthropologist based in Vienna. Her work explores themes of embodiment, emotion, and interbodily relations through materials like clay, metal, and textiles. Deeply influenced by her experience of motherhood, she transforms everyday objects into symbolic forms - one of her gestures she describes as the “nippelization of the everyday.”

Riess is the co-founder of the Clayground retreat and the creator of Circle of Clay, a workshop series she has led at institutions such as the Museum of Applied Arts in Vienna or the Hotel Kai36 in Graz. Her workshops invite participants—regardless of prior experience—to develop their own sculptural language through hands-on engagement with clay.

Her sculptural objects possess a strong visual identity and tactile presence, marked by a recognizable aesthetic and a willingness to push the boundaries of material behavior. Especially drawn to the tactility of clay, Riess explores how movement and fluidity can be captured in form—leaving the trace of the hand visible in its hardened state. With a strong interest in local materials and interdisciplinary exchange, her practice bridges artistic, social, and ecological concerns in both conceptual and applied ways.