{"id":87133,"date":"2021-09-02T19:12:10","date_gmt":"2021-09-02T17:12:10","guid":{"rendered":"https:\/\/svetslik.si\/uncategorized\/obrazi-v-ogledalu-vi\/"},"modified":"2026-09-25T15:00:29","modified_gmt":"2026-09-25T13:00:29","slug":"paintings-faces-in-the-mirror-vi","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/wall-art-paintings-on-canvas-single-panel\/paintings-faces-in-the-mirror-vi\/","title":{"rendered":"Paintings – Faces in the Mirror VI"},"content":{"rendered":"

Faces in the Mirror VI \u2013 one pupil across the whole canvas<\/h2>\n

Painting on canvas magnifies the head until only one blue eye, a cheek and part of the lips reach the crop \u2014 wall art at this scale stops being a portrait and starts behaving like a pattern.<\/p>\n

Technique and texture<\/h3>\n

The colour is laid completely flat, with no modelling at all, so the canvas works as one large drawing. The black contours are the heaviest in the series and in places reach the width of a finger. The red strands are painted in a single tone and are kept apart by that black line alone.<\/p>\n

The motif<\/h3>\n

The eye sits in the upper third and is the largest thing on the canvas, so that is where a look lands first. The lips in the lower right corner are cut in half and work as a second accent. Because the crop is this extreme, the subject loses its scale.<\/p>\n

Setting and placement<\/h3>\n

Flat drawing and clean colour read as young rather than serious, and they hold up against lively furniture instead of needing calm around them. The upright crop gives it the place beside a door or in an entrance.<\/p>\n