My Story, Let Me Tell It — Act IV returns the work to the body as volume, surface and inscription. In this act, Analize Nicolini presents a sculptural cast of her own body covered with wheat-pasted layers of overlaid images: money, phenotypic and genetic classification, alphabet, numbers, and visual references to braille.

The work continues a research process that has moved through mirror, architecture and voice. In Act I, the work affirmed the authorship of one’s own narrative before the reflected image. In Act II, it reorganised exhibition space through bodily plurality. In Act III, it entered the juridical and normative field through a public reading of the Yogyakarta Principles. In Act IV, the dispute returns to the body as a material field.

Covered by systems of value, classification and language, the sculptural body becomes a surface on which different regimes of legibility are inscribed. Money, genetic and phenotypic classification, alphabet, numbers and braille operate as systems that read, classify, name, codify and regulate existence.

The work radicalises one of the central operations of My Story, Let Me Tell It: the dispute between narrating oneself and being narrated. What had previously appeared as phrase, space and voice returns here as matter crossed by regimes of visibility, legibility and control. The body becomes a field of overinscription.

The sculpture does not offer transparency and does not reduce the body to evidence. It affirms opacity, complexity and narrative sovereignty. The body is not presented as a stable identity or as an object to be decoded, but as a contested surface where access, value, classification, visibility and self-enunciation collide.

Within the broader body of work My Story, Let Me Tell It, Act IV transforms self-representation into a material dispute. The body does not illustrate the work; it becomes the ground on which the struggle for authorship, permanence and existence is inscribed.