Opaline presents a feminine figure whose presence appears both embodied and suspended, as though emerging from an intermediate space between matter and light. Faithful to the visual language developed by Mata Lee, the face is structured according to a minimalist grammar in which each element is reduced to its expressive intensity: ice-blue eyes set widely apart; a nose distilled to its most essential form; a vivid red mouth, almost pictographic. This formal reduction does not diminish emotion — it concentrates it.
The body, rendered in milky grey tones, evokes an opaline, almost mineral skin. This soft, textureless surface recalls the aesthetic of polished sculptures or antique porcelain. The chromatic restraint, combined with the frontal pose and delicately stylized nudity, grants the figure a quasi-statuary quality: a captivating threshold between a living body and a silent icon.
In this 18 × 24-inch work, the artist continues to explore the themes of recomposed identity and facial fragmentation. The portrait, far from imitating reality, becomes a conceptual space where the human figure is deconstructed and then reconstructed according to almost algorithmic principles. The features, shifted beyond traditional proportions — particularly the unusually spaced eyes — introduce a gentle strangeness, a subtle displacement that unsettles without ever disturbing.
The title Opaline heightens this sense of inner translucence: a fragile, luminous presence whose strength lies precisely in its restraint. The artwork does not convey a literal narrative; it offers instead an encounter — a meeting with a face that belongs to no one, yet contains within it the possibility of all emotions. A recomposed, open face that invites the viewer to project their own sensibilities.
Opaline presents a feminine figure whose presence appears both embodied and suspended, as though emerging from an intermediate space between matter and light. Faithful to the visual language developed by Mata Lee, the face is structured according to a minimalist grammar in which each element is reduced to its expressive intensity: ice-blue eyes set widely apart; a nose distilled to its most essential form; a vivid red mouth, almost pictographic. This formal reduction does not diminish emotion — it concentrates it.
The body, rendered in milky grey tones, evokes an opaline, almost mineral skin. This soft, textureless surface recalls the aesthetic of polished sculptures or antique porcelain. The chromatic restraint, combined with the frontal pose and delicately stylized nudity, grants the figure a quasi-statuary quality: a captivating threshold between a living body and a silent icon.
In this 18 × 24-inch work, the artist continues to explore the themes of recomposed identity and facial fragmentation. The portrait, far from imitating reality, becomes a conceptual space where the human figure is deconstructed and then reconstructed according to almost algorithmic principles. The features, shifted beyond traditional proportions — particularly the unusually spaced eyes — introduce a gentle strangeness, a subtle displacement that unsettles without ever disturbing.
The title Opaline heightens this sense of inner translucence: a fragile, luminous presence whose strength lies precisely in its restraint. The artwork does not convey a literal narrative; it offers instead an encounter — a meeting with a face that belongs to no one, yet contains within it the possibility of all emotions. A recomposed, open face that invites the viewer to project their own sensibilities.
