Ornamented Head of a Woman 1975

Editor: We're looking at René Portocarrero’s "Ornamented Head of a Woman," a mixed-media piece from 1975. It strikes me as both classical in its profile view, yet wildly modern with the vibrant patterns. What catches your eye about this work? Curator: The ornament itself. It speaks to me of adornment as power, as identity, as a kind of shield. Look at how the floral and abstract patterns merge, almost consuming the profile. Do you see how the face, rendered simply, becomes a ground for a cultural performance? Editor: A performance? Like the woman is acting out a role? Curator: Perhaps not acting, but embodying. Consider how cultures use headdresses or elaborate hairstyles to signify status, marital eligibility, or spiritual connection. The “ornament” here might be less about individual vanity, and more about the collective memory embedded in adornment. Editor: That's interesting. I hadn't considered the ornament as something more than just decorative. The bold colors certainly draw attention, but are they symbolic too? Curator: Absolutely! Color is never neutral. The reds, blues, and greens might reference specific Orisha deities within the Santería tradition, which has strong roots in Cuban culture, Portocarrero's homeland. Are these random splashes, or intentional invocations? I ask myself that when I see this. What do *you* think? Editor: I see how that adds another layer of cultural richness to it. I had thought mostly about the Cubist influence, the way the face is deconstructed but still recognizable. Curator: The Cubist lens is important, as is how it allowed for the breaking down and reassembling of symbols – a powerful tool when exploring identity and heritage. Editor: So, it's like Portocarrero is using the visual language of Cubism to explore cultural identity? That gives me a lot to think about! Curator: Indeed. The visual elements create something deeply evocative about how culture shapes who we are and how we present ourselves to the world.