Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
A mirror that witnesses, doubles, and unsettles the moment it reflects
When I painted Reflections (Intrusion), I was exploring how a mirror can shift from being a passive surface to an active participant in the scene. The draped, lying figure — her head cropped abruptly by the picture edge — is caught in a moment of beauty and vulnerability, and the horizontal mirror doubles that moment in a way that feels intimate, sensuous, and unsettling. I was interested in the psychological tension of seeing and being seen, how the reflection intrudes on the privacy of the pose, doubles it, and turns the mirror into a kind of witness.
During this period, my modernist figuration was balancing abstraction with immediacy, and this painting became a place where identity, intrusion, and the instability of the gaze all intersected. The hues are deliberately high‑key, with intense flesh tones that refuse the muted naturalism of traditional figure painting. That heightened palette pushes the body forward, making the moment feel more present, more charged.
The paint surface is smooth, but it asserts itself — coming forward just enough to remind the viewer of its own reality. The mirror may double the figure, but the surface insists on the painting’s autonomy, its own truth. In that tension between reflection and material, between intimacy and intrusion, the psychological core of the work emerges.
Dimensions: 36×48”
Medium: Oil on canvas
Framing: Custom‑framed by me to complement my specific painting aesthetic
A mirror that witnesses, doubles, and unsettles the moment it reflects
When I painted Reflections (Intrusion), I was exploring how a mirror can shift from being a passive surface to an active participant in the scene. The draped, lying figure — her head cropped abruptly by the picture edge — is caught in a moment of beauty and vulnerability, and the horizontal mirror doubles that moment in a way that feels intimate, sensuous, and unsettling. I was interested in the psychological tension of seeing and being seen, how the reflection intrudes on the privacy of the pose, doubles it, and turns the mirror into a kind of witness.
During this period, my modernist figuration was balancing abstraction with immediacy, and this painting became a place where identity, intrusion, and the instability of the gaze all intersected. The hues are deliberately high‑key, with intense flesh tones that refuse the muted naturalism of traditional figure painting. That heightened palette pushes the body forward, making the moment feel more present, more charged.
The paint surface is smooth, but it asserts itself — coming forward just enough to remind the viewer of its own reality. The mirror may double the figure, but the surface insists on the painting’s autonomy, its own truth. In that tension between reflection and material, between intimacy and intrusion, the psychological core of the work emerges.
Dimensions: 36×48”
Medium: Oil on canvas
Framing: Custom‑framed by me to complement my specific painting aesthetic