Selfie Fatale 

Editor: So, here we have "Selfie Fatale" by Sarah Joncas, made with mixed media. It's a striking portrait and almost has a slightly vintage feel. What catches your eye when you look at it? Curator: The initial interplay between sharp lines and soft textures immediately draws my attention. Note the hard-edged form of the phone against the rounded, almost fleshy, forms of the figure. There's a purposeful discordance. Do you perceive that the painting achieves its effect because of this particular strategy of composition? Editor: I see what you mean about the phone and her body creating contrasts. It is sort of amplified by the lacy sleeve and the hardness of the finger on the phone. The patterns on her sleeve really are compelling too...how would you describe her pose? Curator: The pose itself feels deliberately constructed. Consider the slight tilt of the head, the gaze directed towards the viewer, and the assertive angle of the phone—a performative act captured in a static form. How does that performative quality strike you? Editor: It definitely feels like she's performing, but also inviting the viewer into that performance. It’s both alluring and a bit unsettling. The gaze is really direct. Almost confrontational. Curator: Precisely. Note also the formal device of the shallow depth of field, which flattens the background and pushes the figure forward, enhancing the immediacy of the encounter. Did you also notice the background that looks like clouds that contrast against the more firm shapes on the figure. The use of flatness and shallowness gives a different vibe than expected. Editor: That makes me rethink how the clouds also highlight the model and it's not necessarily a classical portrait with traditional background as one could assume at first glance. I'll definitely pay closer attention to this artist's use of hard and soft elements in future viewings. Curator: Agreed, these formal choices demand our attention. It certainly reframes how we interpret representational work like this.