Colloque entre monos et una 1987

Curator: The unsettling closeness of these faces almost feels like a confrontation in an encounter with Lèonor Fini’s 1987 painting, “Colloque entre monos et una.” It’s an oil painting—a rather spectral one, might I add. Editor: Yes, spectral is the precise word. There's a ghostly quality about the hazy, almost monochrome blue palette that unifies the composition, and, while it doesn't resolve the details, there's a powerful juxtaposition of textures: smooth skin against the mottled background. It is unnerving. Curator: It's worth mentioning that Fini, a fiercely independent artist, deliberately cultivated an enigmatic persona, often challenging conventional notions of femininity and identity. This painting invites us to question normative expectations in terms of both narrative and representation, specifically within its almost mythological register. Editor: Mythology, yes, but stripped of any classical precision. Instead, she favors an uncanny ambiguity through which these flattened shapes exist. Note the curious balance; even the direction of the faces—one looking down, one angled upward—suggests an imbalanced dialogue. It’s dreamlike. Curator: The title, "Colloque entre monos et una," could potentially allude to a discussion or interaction between the self (“monos” implying “one” or “single”) and the other (“una,” representing perhaps a feminine or societal ideal.) The dreamlike aspect underscores a profound personal reckoning. Fini positioned herself as apart from the typical image, constantly exploring multifaceted ideas of what the subject looks like outside established notions. Editor: I agree; a solitary encounter becomes tangible. Although, the "discussion" is occurring through the visual language: The light source from above accentuates a contrast of planes on the top face. As for the figure below, it appears less modeled, yet very still. There is very little tonal gradation to indicate emotional tenor—except stillness. It emphasizes not just her masterful skill, but something more deeply unsettling: she asks for quiet reflection. Curator: Quiet, but powerful—this canvas showcases her capacity to stir feelings, even without using typical narrative signifiers. In its peculiar arrangement, it brings together elements of Surrealism and touches of modernism, while making something entirely distinct and, to me, fascinating to consider within queer theory, challenging patriarchal definitions. Editor: Well, it gives us much to contemplate. I appreciate how her unique and precise arrangement leaves me room to think more, regardless.