Throughout his career, Amin has been intrigued by renderings of his own face and of his father and mother. These began as a series of what Amin called "inner masks," revealing not the face we show to others, but the state of the soul within. These works were rarely serene, or even whole. In the very early portraits, the visages were wrapped and bound. Later they seemed to have been eaten away as if by psychic acid. Even later, hands - an increasingly important motif in Amin's work - were introduced, and served, in one composition, to tear away at the face as it contorted into a scream of anguish.

All of these works seem to be metaphorical portraits of the artist, and his attempt to understand not only what is around him, but what is inside of him, too.