The portrait of younger Zenob 1962

Mariam Aslamazian made "The portrait of younger Zenob" with oils on canvas. The fleshy tones, painted in broad strokes of brown and pink, make the subject appear to emerge from the canvas. You can imagine Aslamazian building up the image through layers, scraping back here, adding more there, as the Zenob slowly takes shape through this process. I wonder what Aslamazian was thinking when she painted those white eyebrows and moustache? They look windswept, capturing a certain ruggedness and spirit. There’s something very immediate about how the paint is applied, and you can almost feel the energy of the artist. The brown hat and coat contrast with the bright white facial hair, drawing our eye to the sitter's face. The overall effect makes me think of other artists like Alice Neel, who weren’t afraid to show the raw, vulnerable side of their subjects. Ultimately, the act of painting embraces ambiguity and uncertainty, allowing for multiple interpretations and meanings.