#42112 Concetto Pozatti

The composition presents a figure seemingly poised within a chariot-like structure, rendered in a stark, almost schematic style. The background is filled with a repetitive pattern of small squares, creating a sense of visual density and perhaps suggesting confinement or uniformity.
A female figure dominates the left side of the scene. She stands erect, her posture conveying an air of regal composure despite the simplified rendering of her form. Her face possesses a somewhat severe expression, accentuated by tightly curled hair that frames it. The artist has emphasized her breasts with a degree of prominence, which could be interpreted as symbolic of fertility or maternal power, though presented in a detached and unemotional manner.
The chariot itself is constructed from thick, white lines, outlining the form but lacking detail within. It is pulled by an equine creature whose body is strikingly unusual. Instead of fur or muscle, its back is composed of a series of stacked, rounded forms – resembling loaves of bread or stylized segments – painted in warm ochre tones. This peculiar anatomical feature immediately draws attention and disrupts any sense of naturalism. The horse’s head displays large, expressive eyes that seem to gaze directly outward, contributing to the overall feeling of unsettling observation.
The color palette is limited but impactful. The backgrounds muted gray-white contrasts with the pink and blue hues used for the chariot’s interior and the horse’s flanks. These colors introduce a degree of vibrancy while maintaining an overall sense of restraint.
Subtextually, the work appears to explore themes of power, representation, and perhaps even societal structures. The female figures posture suggests authority, but her stylized form and the unusual depiction of the animal pulling her chariot imply a questioning or critique of established hierarchies. The repetitive background pattern could symbolize conformity or the constraints imposed by social norms. The horse’s bizarre anatomy might be interpreted as a commentary on the distortion of natural forms under artificial constructs – perhaps representing how ideals are shaped and manipulated within systems of power. Ultimately, the painting invites contemplation about the nature of representation itself and the ways in which figures can be both symbols of authority and objects of scrutiny.