Self-portrait 1993

Editor: This is Alfred Freddy Krupa’s "Self-Portrait" from 1993, crafted with acrylic paint. I am struck by the bold colors and almost blocky way the face is constructed. What formal qualities stand out to you? Curator: Immediately, I note the high-key palette dominated by yellow and green, colors not typically associated with portraiture, disrupting traditional representation. The brushwork is visibly expressive, laying bare the process of its making. Do you perceive a tension between representation and abstraction in how Krupa renders his likeness? Editor: Absolutely. The colors aren't realistic, and the face seems built from these planes of color rather than smooth gradations. Is there a term for that? Curator: One might consider aspects of "facetting," a technique explored by Cubists, though here applied with a vibrant and almost unsettling color scheme. This fragmentation invites closer inspection. Are you able to discern how light interacts with the pigment? Editor: The light seems to catch the yellows and reds, giving them prominence, while the blues and greens recede somewhat, creating depth despite the flatness of the application. Curator: Precisely. Note the interplay of complementary colors -- how blue emphasizes yellow, and red, green -- heightening visual intensity. What does this intensified visuality evoke? Editor: Perhaps a sense of unease or heightened self-awareness. It's not a comfortable, flattering portrait, but it is definitely striking and memorable. Curator: I concur. By disrupting conventional modes of portraiture, Krupa encourages viewers to contemplate the formal elements that constitute an image, prompting one to interrogate the act of seeing itself. Editor: I had not considered the active role it demands of the viewer. I will remember to look beyond likeness when engaging with portraiture.