#16976 Monica Ozamiz Fortis

The composition presents a feline subject rendered in a fragmented, cubist style. The animal occupies the central foreground, its posture suggesting alertness and quiet observation. It is positioned horizontally, with its gaze directed towards the viewer, creating a direct connection that invites scrutiny.
The artist has employed a palette dominated by cool tones – blues, purples, and greens – interspersed with warmer yellows and occasional reds. These colors are not blended smoothly; instead, they appear as distinct blocks or planes, contributing to the overall fractured aesthetic. The application of paint is deliberate, with visible brushstrokes adding texture and emphasizing the geometric nature of the representation.
The background consists of a series of similarly fragmented shapes, which seem to function both as spatial indicators and as abstract compositional elements. These forms lack depth cues, flattening the picture plane and further reinforcing the cubist influence. The effect is one of deconstruction; the familiar form of the cat is broken down into its constituent parts and reassembled in a non-naturalistic manner.
Subtly, theres an interplay between the animal’s organic form and the rigid geometry surrounding it. This juxtaposition could be interpreted as a commentary on the relationship between nature and human perception or representation. The cat’s stillness contrasts with the dynamic arrangement of shapes, potentially suggesting a tension between stability and change, or perhaps a sense of being observed within an artificial construct.
The choice to depict a domestic animal – a creature often associated with comfort and familiarity – within such a formal, analytical framework introduces a layer of unexpected complexity. It might imply a questioning of conventional notions of beauty, representation, or the very nature of seeing.