The woman from Madras 1970

Editor: This is "The Woman from Madras," painted by Mariam Aslamazian in 1970 using oil paints. The vivid colours immediately draw me in, but there’s also something almost dreamlike about the composition. What strikes you when you look at this painting? Curator: Formally, the painting demonstrates an intriguing arrangement of planar forms. Note how Aslamazian uses broad, deliberate strokes to define shapes rather than contours. Observe the colour palette; the juxtaposition of the turquoise blouse against the vibrant yellow and red sari, for instance, creates a striking visual contrast. What structural elements draw your attention, from your point of view? Editor: I'm intrigued by how the strong verticals and diagonals of the figures' forms play against the curving fronds of the palm tree and even the rounded forms of the pots. There’s almost a sense of tension, even friction. It isn't relaxing like some genre paintings can be. Curator: Indeed. And how do you perceive the rendering of the figures? Their stylization moves away from academic naturalism, wouldn't you agree? Focus on the formal qualities again; consider the lack of chiaroscuro, which further flattens the image and contributes to its decorative effect. Editor: I see what you mean. The faces aren't realistically shaded, contributing to the overall "flatness," and heightening the abstract qualities. This painting feels like so much more than a portrait now. Curator: Precisely. Through the manipulation of form and colour, Aslamazian invites us to examine the very construction of the pictorial space. What initially seems like a representational image evolves into a sophisticated exercise in visual structure. Editor: Thinking about her deliberate use of colour and line makes me reconsider how I view paintings. I was drawn in by the scene but I see now that there's an intentional formalism at play that invites closer, more focused examination. Curator: A very perceptive observation, that closes our examination beautifully.