Untitled (NouraAlqasia1 variant 1)
1999 - Present
Description
A face fills the sheet, built from warm cream, beige, ochre, and rust. Two large eyes in golden amber sit in the upper part of it, cast downward. The brows and sockets are drawn in reddish brown.
Where the nose would fall, there is a person. A figure is curled tight, knees drawn up, head bowed, arms wrapped around the legs, rendered in greyscale with sepia through it, set against the warm tones of the larger face.
The ground dissolves entirely into a soft warm field with no horizon and no edge, so the face has no boundary of its own.
The composition is centred and near-symmetrical, and the two scales are held in one image, a face looking down and a body folded inside it. The large eyes are directed at the small figure. No signature.
Preservation Notes
PROVISIONAL. Assessment from visual inspection of a digital image only. No physical examination. TITLE IS A PLACEHOLDER The source filename is NouraAlqasia1(1).jpg. The bracketed numbering is a duplicate-file convention from an operating system, not the artist's own naming, and it wrongly implies this is a variant of NouraAlqasia1.jpg. It is not. It is an entirely separate composition. The title given here preserves traceability to the file and should be replaced as soon as the artist supplies a real one. PART OF A COHERENT GROUP OF FIVE One of five related files sharing identical dimensions of 3508 x 2480 landscape, a uniform cream or warm ground, a gold and rust palette, soft translucent handling, and no signature. Each is a distinct composition. See the other four records in this group. DIMENSIONS, STRONG INFERENCE 3508 x 2480 px is exactly A4 at 300 dpi, that is 297 x 210 mm. Either scanned from A4 paper or made on a digital canvas at that preset. Not asserted pending confirmation. SUBJECT, RELATED TO THE WIDER COLLECTION The device of a figure held inside a larger form connects this to the body-as-window works, Plestia, last ashes, and Noura11, where a torso opens onto a landscape or becomes architecture. Here the containing form is another face rather than a building. Worth recording as part of that thread when the artist can speak to it. The curled protective posture also echoes the self-embrace in Trauma and Noura12. MATERIAL ASSESSMENT Automated inspection suggested digital painting or airbrushed illustration on the basis of soft gradation and blurred edges. Treat with caution. The same soft handling would result from wet washes on paper, and automated medium identification has been wrong repeatedly across this collection. Unconfirmed.
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