Look at that Painting

The process was guided by centrality of the composition: - Division into half vertical: blue (top), green (bottom) - Dome-shaped field on top (the sky), accentuates the centre - The arrangement of figures: sequence/group arranged in a circle, painted flat in one point perspective, then averaged colours of adjacent squares 3. The mountain-shadow part crosses the horizon in the centre of the painting, it codes the passing of time, noon/equilibrium The background is in acrylic paint, painted hastily, impatiently, spontaneously, intuitively, the narrative came to be without any planning. The figures code the reality of divination, prophecy, Delphi, ancestors, Stonehenge, audience, judges, protectors, on-lookers, guards and guardians. The front layer consists of a double self-portrait in greenish-grey oil paint. Their positioning is meant to benefit from but also disrupt the control composition of the painting. The bending figure breaks the fourth wall, looks at the viewer. She is inviting but also perhaps protective or threatening. She overlooks/supervises the investigation/inspection process carried out by the squatting self. She points to an empty-discovery, a non-existent focal point. For this part I photographed myself in those positions and geometrically transferred the drawing to the canvas, priming the shapes with zinc white to obtain the fields/outlines of the figures while preserving transparency of those spaces. It is a religious painting, inspired by fresco techniques.

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:83 W x 83 H x 2 D in

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