Paris 1968

Princess Fahrelnissa Zeid made this untitled painting, 'Paris', with I'm guessing, oil on canvas, and a whole lotta looking. The first thing that grabs me is how Zeid builds up the surface with these tiny little marks. Each one feels like a breath, or maybe a secret. It's like she's whispering the city into existence, bit by bit. It's not about perfection; it's about the accumulation of gestures, the process of seeing and feeling. Look how the yellows and reds kind of vibrate against each other. There's no blending, just pure color laid down with such care. There's a patch of dark marks that almost looks like a shadow, and I think it's a perfect example of how ambiguity can be a strength. It could be a literal shadow, or maybe it represents something deeper, some hidden aspect of the city. Zeid reminds me a bit of Joan Mitchell, with her love of color and her willingness to embrace the messy, unpredictable nature of painting. Both artists show us that art is not about answers, but about questions and possibilities.