art 127 National Museum of Women in the Arts

The composition presents a complex arrangement of geometric forms and concentric circles dominating the visual field. The artist has employed a palette primarily consisting of greens, reds, yellows, blues, and browns, applied in broad blocks and segments that intersect and overlap. These colors are not blended smoothly; instead, they retain distinct boundaries, contributing to a sense of fragmentation and dynamism.
Several large circular motifs are central to the work. One prominent circle, positioned near the upper center, is constructed from multiple concentric rings of varying hues. This structure appears to radiate outwards, suggesting movement or expansion. A smaller, similar arrangement sits in the lower right quadrant, partially obscured by other forms. These circles do not appear as solid objects but rather as planes that intersect and reveal different color layers.
The overall effect is one of controlled chaos. The sharp edges and angular divisions create a sense of tension, while the circular elements introduce a counterbalancing rhythm. Theres an absence of traditional perspective or spatial depth; instead, the artist seems to be exploring relationships between shapes and colors in a flattened pictorial space.
Subtly, there is a suggestion of layered realities or perspectives. The overlapping forms imply that we are seeing multiple viewpoints simultaneously, creating a sense of ambiguity and complexity. The use of color isnt representational; it functions primarily as an expressive element, contributing to the painting’s overall mood and visual impact. It could be interpreted as a visualization of abstract concepts like harmony and dissonance, or perhaps a representation of the interconnectedness of various elements within a larger system. The deliberate lack of recognizable imagery encourages viewers to engage with the work on a purely formal level, focusing on the interplay of shapes, colors, and textures.