zebra Painting

Miguel Macaya shows them to us using a precise, although not laboured, technique ; looking for truth rather than precision. His portraits have that universality of old, casual pictures, where a car is simultaneously all cars, and the snapshot of a criminal includes all criminels and all crimes. Could this be the final aim of the portrait ? Rather than putting down any specific individual's features, he permits us to see a human being in this semblance, one made of the same substance as ourselves, although his times and his life's deeds were very différent to ours, despite embodying something exceptional or something very distant from our own circumstances, like, for instance, absolute power, holiness or madness.