#15861 Oscar Dominguez

The composition presents a fragmented interior scene constructed from geometric forms and a restricted palette dominated by ochre, brown, white, and black. The artist dismantled conventional perspective, opting instead for multiple viewpoints simultaneously displayed within the same frame. This fracturing of space creates a sense of disorientation and challenges the viewer’s ability to establish a stable visual anchor.
A chair occupies a prominent position on the left side of the canvas. Its structure is broken down into angular planes, with a draped cloth cascading from its backrest. The fabrics folds are rendered as sharp, intersecting shapes, contributing to the overall sense of deconstruction. A mirror affixed to the chair’s frame reflects a distorted image, further complicating spatial relationships and suggesting an exploration of perception and representation.
To the right, a table supports a vase containing lilies. These floral elements offer a contrasting softness against the rigid geometry of the surrounding objects. The lilies themselves are simplified into stylized forms, their petals delineated by clean lines. Their presence introduces a subtle element of naturalism within the otherwise abstract environment.
The background is defined by an architectural structure – possibly a ceiling or balcony – also composed of angular planes and sharp edges. This reinforces the painting’s overall sense of constructed space rather than depicting a recognizable room. The dark, almost black upper portion of the canvas creates a visual weight that grounds the composition while simultaneously contributing to its enigmatic atmosphere.
The subtexts within this work appear to revolve around themes of perception, representation, and the nature of reality itself. By dismantling traditional pictorial conventions, the artist invites viewers to question their assumptions about how we see and understand the world. The fragmented forms suggest a breakdown of order and stability, while the simultaneous presentation of multiple viewpoints implies that there is no single, objective truth. The lilies, despite their naturalistic qualities, are also subjected to geometric simplification, suggesting that even seemingly organic forms can be deconstructed and reinterpreted through an analytical lens.