Perception, and Inner Duality inquire if interested

Perception, and Inner Duality, a psychological fragmentation landscape, and the symbolic architecture of the mind

Artist Statement

Perception, and Inner Duality acrylic painting explores the fragmented nature of perception and identity. Constructed through a grid of intersecting geometric forms, the composition evokes an inner architecture, one built from memory, emotion, and constant mental negotiation. The structured blocks create a sense of order, yet their irregular rhythms and shifting colors suggest instability beneath the surface.

At the center of ” Perception, and Inner Duality”, a circular form holds a large, unblinking eye flanked by two opposing facial profiles. This motif represents duality: the self as seen and unseen, the internal dialogue between intuition and reason, and the interplay between presence and observation. The eye becomes both a witness and a mirror, inviting the viewer to confront their own act of looking. It is not passive; it questions, absorbs, and reflects.

Color plays a crucial psychological role in “Perception, and Inner Duality”. Warm yellows and oranges coexist with cool blues and muted tones, creating tension and balance at once. The bold outlines anchor the forms, while layered hues introduce depth and emotional resonance. The interplay between sharp geometry and organic facial contours reflects the ongoing struggle between control and vulnerability.

Through this work, I seek to visualize the complexity of inner worlds, how we compartmentalize thoughts, how identities fracture and reassemble, and how awareness itself can feel both illuminating and overwhelming. The painting does not offer a single narrative; instead, it opens a space for introspection, allowing each viewer to recognize their own internal structures within the composition.

This painting draws strongly from the legacy of Cubism, particularly the psychological fragmentation. The fractured planes, overlapping geometries, and multiple viewpoints echo Cubism’s rejection of singular perspective. Like early Cubist portraits, the faces here are not meant to describe appearance, but to express inner states and simultaneous identities.