The painterly effect of the colors applied is surprising.
In some countries, including China, the production of
silhouettes cut out by using scissors is still considered an art in certain
circles. It was, in Europe, during the period of Goethe, Byron, Shelley,
and Madame de Staël. I love the jigsaw-like, irregular frame
within a frame that binds together or connects two sihouettes facing each
other, that of a woman (on the left). and a man (on the right). They
seem to look at each other, quietly, intensely, full of love, perhaps full
of longing. The empty space between them is not empty, it is filled with
a tender hachure of horizontal, now and then interrepted lines.They seem
to me like a visualization of the steadily pulsating energy streaming between
the two pairs of eyes, the two bodies.
The "others" appear as if seen through a mist - shadowy,
almost unreal, like mere phantoms looming in the past or in a spatially
distant present.
Is it a male figure that faces the women - his
mouth open like the mouth of wolf, hands stretched eagerly forward, a tail
raised high into the sky? Is it a witch, a princess, queen of secrets that
stares, from a distance, at the man, half hoping to ensnarl him, half embittered
by her failure to do so?
Els Patoor writes about this work that she likes it very
much.
The statement seems to bear witness to all the emotional
energy that went into the production of this work and that streams from
it now.
And isn't it exactly this emotional energy that is confirmed
by the way the "Two Silhouettes" are affecting our senses?
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