These small anonymous portraits are made as oil painting diptychs displayed on the exterior and interior of ajar wooden boxes reminiscent of sequential religious altarpieces. The tension of what is partially opened invites us to resolve their ambiguity by opening them. Both the orientation and the side hinge of the box invite a sequential reading of the diptych, similar to that of a book. This call to action is also enhanced by a central image, akin to a book cover, a single eye in a circle, which serves as a peephole cue: a character seemingly looking through a round hole. In fact, the works demand the participation of the viewer, making the painting as "interactive" as we may call the imagery and virtual environments of modern mobile phones. The proportion and scale of the object evoke indeed the screen of a mobile phone.
After opening the boxes, we're invited to leave the boxes in their unresolved original tension since they can never be fully closed and are meant to be displayed ajar, advocating for ambiguity and the intersection of contradictory ideas. By doing so, the objects claim contrast to the rigid duality of opposing concepts, moving in the liminal space between open/closed, exterior/interior, public/private, elegant/vulgar, innocent/pervert, and real/virtual, to name a few.
The outer image, displayed on the exterior of each box, captures the gaze of the portrayed individuals in a single eye, framed within a central circle resembling an emblem. This circular framing is characteristic of an avatar profile picture in a virtual environment, indexed as a "contact" in social networking or messaging applications. It represents the minimal expression of an individual's self-presentation to the public. The reframe allows for a glimpse into their chosen public representation of themselves while subverting recognition and making them unrecognisable and therefore turning the public into private. The images, translated and adapted to the oil painting, transform the digital selfie into a gestural material expression, bridging the gap between the virtual and the tangible.
Simultaneously, the inner image within each box serves a different purpose. It portrays the intimate side of the individual, meant to be viewed privately. These self-portraits, all taken as selfies, offer a personal narrative that was not intended for widespread consumption. They reveal vulnerability, emotion, and a sense of intimacy, contrasting the outward-facing persona depicted on the exterior. Opening these boxes is akin to entering private spaces, such as bathrooms or bedrooms, allowing us to delve into the inner worlds of these portrayed individuals.
The shift in context from public to private creates an evident contrast that aims to reveal, entertain or evoke emotions, and ultimately allow us to get to know and imagine the lives of these individuals. Each box becomes a small visual message book, containing a story waiting to be discovered, a glimpse into the lives of a small community of characters, each with their own motivations, dreams, and aspirations.
As we engage with these artworks, we are not only invited to appreciate the technicalities of the oil painting medium but also to question the nature of self-representation in the digital age. The diptychs prompt us to consider the interplay between public and private personas, the construction of identity, and the influence of technology on our perception of ourselves and others. They encourage us to reflect on the ways in which we choose to present ourselves in virtual spaces and how these representations may differ from our inner selves.
In the act of opening these boxes, we engage in an intimate encounter with both the portrayed individuals and the artist behind the reinterpretation. As such, we are invited to discover not only the self-portraits of the individuals but also by expanding them into a communal narrative, the implied portrait of the person who received these selfies. This exchange between the artist and the portrayed individuals takes then further new meaning, transcending the boundaries of literature, art, and technology.
By exploring this exhibition, we become witnesses to a dialogue between the public and the private, the tangible and the digital, the self and the other. It encourages us to question the complexities of self-expression, the influence of social media on our perceptions, and the ways in which art can bridge gaps and foster connections in our contemporary society. These diptychs, with their inherent tension and narrative richness, beckon us to embark on a journey of self-reflection, empathy, and understanding.