New Adam imagines the possible rebirth of the masculine beyond war, domination and violence. A white, unfinished face emerges like a sculpture still in formation: not a hero, not a warrior, not an idol, but a vulnerable presence, still open to transformation. The hand stained with plaster does not impose a form; it accompanies a birth. The gesture becomes care, matter and desire: the beginning of a new contemporary Eros.
The work moves beyond the simple aesthetics of the face to become a contemporary myth. It evokes a civilization trying, with fingers still soiled, to be born better. Here, the masculine is no longer a force that conquers, but a presence that listens; not a power that wounds, but a regenerative energy. New Adam suggests a future figure of humanity: fragile, luminous and capable of imagining the world anew.
《新亚当》 想象一种男性气质的可能重生：超越战争、支配与暴力。一个白色的、未完成的面孔如同仍在形成中的雕塑般浮现：它不是英雄，不是战士，也不是偶像，而是一种脆弱的存在，依然向转化敞开。沾满石膏的手并不强加形体，而是陪伴一次诞生。这个手势成为关怀、物质与欲望：一种新的当代爱欲的开端。
作品超越了面孔的单纯美学，成为一个当代神话。它唤起一种文明的图景：带着仍然沾污的手指，试图更好地诞生。在这里，男性不再是征服的力量，而是一种倾听的存在；不再是造成创伤的权力，而是一种再生的能量。《新亚当》 指向未来的人类形象：脆弱、明亮，并能够重新想象世界。
