Virginia Chihota’s Kuva inini (Being me) may be understood as a compelling meditation on the unstable architecture of selfhood, where the figure becomes less a portrait than a psychic event. The composition stages identity not as a fixed essence but as a site of becoming, rendered through a syntax of distortion, chromatic violence and corporeal elongation. The dominant black form, simultaneously human, avian and spectral, refuses anatomical resolution; instead, it enacts a condition of inward multiplicity, as though the self were constituted through accreted masks, memories and emotional residues. The saturated red ground intensifies this drama, operating not merely as backdrop but as an atmospheric field of affect, alarm and existential exposure. Particularly striking is the tension between the figure’s enlarged, vigilant eyes and the gestural extension of the arm, which suggests both self-touch and self-defence, intimacy and estrangement. Such formal dissonance recalls broader contemporary practices in which figuration becomes a vehicle for articulating trauma, resilience and unstable embodiment. In this specific case, the work’s asymmetry, its rough inked surfaces and its refusal of perspectival comfort synthesise a visual language of interiority: the subject is not shown as socially legible, but as psychically inhabited. Consequently, the piece achieves more than expressive deformation; it offers a rigorous ontology of being in which identity emerges as fractured, sensate and defiantly unresolved.