Through the Looking Glass

It is an autumn evening I walk into my flat. It is still early, but I am tired. It is unusual for me to return home before seven in the evening. The day in the office was not unproductive – I got what needed to be done, done, albeit mechanically; however, I was restless. I don’t believe that any one at work noticed – the minute the lipstick slid on as I gazed into the mirror in the tiny foyer by my front door, just before I left home this morning, had conditioned by face to smile. In fact, a number of people commented on how happy and even how calm I looked – my laughter even while It was tinged with incredulity was not fake – honestly, more surprised at my successful deception. I dwelled on how the comment altered my mood; how reflections in another’s eyes controls and even forms one. On entering my apartment, the restlessness that I had quietened, resurfaced with additional vigour. I took a deep breath as I allowed the memories of the previous evening to engulf me. All day, I had wanted to quiet all the voices around me and allow myself the luxury of my private thoughts.

Continue reading “Through the Looking Glass”

Mind the Gap!

In the Eternal Evidence, René Magritte portrays the idealised nude as an assemblage of body parts rather than a whole. Undeniably, at a distance it is still possible to read the image as a single subject; however, as one gets closer to the work the fragmentary nature of the object dominates the vision. The fragments are constructed by a gap that is composed of two distinct elements –the emptiness between the framed canvases that is suggestive of the missing parts of the painting, and the frame around the canvas which defines and articulates the part. The disposition of the canvases on the wall surface in their deliberate misalignment ensures that they appear as if they do not quite fit with each other. Magritte was known as an artist who ‘rendered thought visible’.[1] I would like to suggest that in this particular piece of work, the design of the gap is as much a part of the painting as the fragments itself, and allows the provocations fundamental to his work to reveal themselves – the ideal nude as a set of perfectly formed parts that do not necessarily fit perfectly together. Continue reading “Mind the Gap!”