{"id":13161,"date":"2026-06-21T15:50:07","date_gmt":"2026-06-21T13:50:07","guid":{"rendered":"https:\/\/www.dutygorn.com\/?post_type=avada_portfolio&p=13161"},"modified":"2026-08-24T20:29:52","modified_gmt":"2026-08-24T18:29:52","slug":"refracted","status":"publish","type":"avada_portfolio","link":"https:\/\/www.dutygorn.com\/en\/artworks\/refracted\/","title":{"rendered":"Refracted"},"content":{"rendered":"

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Refracted <\/strong>acrylic and marker on canvas, 93×132 cm – 2026<\/p>\n<\/div>

The artwork unfolds through a complex visual stratification in which the surface appears to be in constant motion. Brushstrokes, fields of color, and fragmented forms overlap, creating the impression of an image that has been dismantled and reconstructed multiple times. At first glance, the composition seems to consist of cutouts, folds, or portions of images layered upon one another; upon closer inspection, however, its entirely painterly nature becomes evident. Nothing has been cut, pasted, or assembled. Every element originates from the artist\u2019s hand and from painting\u2019s ability to simulate depth, layering, and material presence.<\/p>\n

The overall effect evokes an image undergoing continuous transformation, as if the canvas had been folded, compressed, and then reopened, allowing traces of different visual moments to resurface. The marks do not follow a linear narrative structure but instead create a fragmented geography through which the viewer is invited to move freely, discovering new relationships and connections between forms.<\/p>\n

At the center of this visual tension, a face gradually emerges. The figure is never fully revealed, but appears through details, suggestions, and fleeting moments of recognition. The image therefore occupies a threshold between visibility and dissolution, where perception becomes an integral part of the work and the subject exists only through the act of observation.<\/p>\n

This research continues a path previously explored in Edge<\/em>, where fragmentation originated from the deconstruction of typographic language and the transformation of words into images. In the present work, however, the process moves further: it is no longer language that is being fragmented, but painting itself. Fragmentation becomes both a perceptual and material condition, a device through which the image is continuously constructed and denied.<\/p>\n

The composition thus embodies a dual nature. On one hand, it delivers the immediate impact of color, gestural energy, and rhythmic forms; on the other, it reveals a more subtle and reflective dimension, where each fragment seems to preserve the memory of a previous image. The result is a dynamic and unstable surface that resists definitive interpretation, inviting the viewer into an open-ended visual experience that remains in a constant state of becoming.<\/p>\n<\/div>

Artwork Information<\/strong><\/p>\n

Series<\/strong>
\nPortrait<\/a><\/p>\n

Year<\/strong>
\n2009<\/p>\n

Materials
\n<\/strong>acrylic and marker on canvas<\/p>\n

Dimensions<\/strong>
\n93 x1 32 cm<\/p>\n

Category<\/strong>
\nAbstract portrait<\/p>\n

Location<\/strong>
\nMilano, Italy<\/p>\n

Themes
\n<\/strong>Portraiture, Fragmentation, Abstract, Clippings<\/p>\n<\/div>