lrsSPM10-248-MontiglioSteve-SheDoesntWater Steve Montiglio

The composition presents a layered and fragmented visual experience, achieved through what appears to be photographic collage and manipulation. The overall effect is one of distortion and obscured narrative, demanding active engagement from the viewer.
Here we see three distinct figures positioned vertically within the frame. On the left, a female form is rendered in a sepia-toned palette, her posture suggesting a gesture of pointing or directing attention upwards. Her body appears elongated and somewhat ethereal, as if emerging from shadow. To the right, another figure, predominantly depicted in shades of white and blue, presents hands outstretched towards the viewer, their fingers splayed in an ambiguous manner – perhaps offering, grasping, or warding off. The central space is dominated by a complex architectural structure, seemingly a stylized rendering of a building or monument. This element is rendered in warm tones, with what appears to be a radiating pattern emanating from its apex, creating a sense of grandeur and potentially symbolic significance.
The layering technique employed introduces an immediate sense of visual complexity. The figures are not presented as distinct entities but rather as superimposed elements, their forms partially obscuring one another. This creates a flattening effect, diminishing the illusion of depth and contributing to the overall feeling of disorientation. The surface texture is also noteworthy; it appears distressed, with areas exhibiting what looks like water damage or deliberate abrasion. These marks contribute to the sense that the image has undergone significant alteration and carries a history beyond its initial creation.
Subtexts within this work seem to revolve around themes of guidance, interaction, and perhaps even control. The figure on the left seems to be directing attention towards something unseen, while the outstretched hands on the right invite or challenge engagement. The central architectural structure could represent power, authority, or a system of belief – its stylized rendering suggesting an idealized or potentially oppressive force.
The distressed surface and fragmented composition suggest a critique of established narratives or institutions. It is possible to interpret this as a commentary on the ways in which memory, truth, and perception are constructed and manipulated. The obscured nature of the figures and the architectural structure encourages viewers to actively participate in piecing together the narrative, acknowledging the inherent ambiguity and potential for multiple interpretations.