In this work, I applied the golden section to a human mask, which thus appears in its geometric construction. In it,I expressed all the confidence I had in reducing reality to a golden geometry, the result of a "Renaissance" attitude in which Man and Rationality are at the centre of the universe. In this mask, the human face is forced within fixed and immutable geometric limits. Flat geometry is thus "emancipated": it meets the third dimension in the space of the human mask. It is the antithesis of the mask titled "I am Ryunio" that I would make thirty-five years later. The contrast with the 2019 mask is glaring: while here the mask is closed and motionless, there the attitude it shows is "Buddhist": everything is reduced to energy and movement, surface has no limits, it dynamically expands in space starting from its internal content. The causes and conditions leading to the creation of this mask are the search for a fixed measure, for a rule establishingshape, which would enclose a natural shape within perfect geometric patterns. The content of the work is the pursuitof a first form, original for any given existing configuration, of a formative and generative principle for any form. I have always wondered why an artistic shape should be such and not different, looking for a final reason for its existence. Sacred geometry offered a possible answer in the golden section. Tracing on the mask the golden proportions relating to the human face somehow made the shape "absolute", giving it both legitimacy and soundness. What is transient in the work is the variety of possible applications of the golden section to the human face. What is original is the "classicism" and purity of the operation, which gives the human face, which is made of flesh and blood so to speak, a solemn aura. The discovery that most natural and artistic forms can be traced back to the Fibonacci sequence filled me with wonder, as if in the golden section lied the vital secret of every form. I believed I had found a method on which to base my art making and I was convinced that the perfection that the forms based on the golden section convey was the ultimate answer of any formal research. Only nature and art are able to enact a sense of absolute perfection. Therefore, I committed myself to researching the golden section in every form I encountered, only to realize that I was dealing only withthe surface of things and not with what really interested me, namely the inner and deep aspect of things.