From the series Behind the Obvious, Critical Zone explores the bathroom mirror not as an instrument of narcissism, but as a metaphysical threshold. Here, Abraham Aronovitch stages the precise moment when the everyday gaze falters, giving way to vertiginous introspection.*

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The work is structured around a chromatic and material duality: in the foreground, the matte quality of the acrylic-painted body anchors the scene in a carnal reality, while graphite accents underline the fragility of presence. By questioning the condition of being when confronted with its own shadow zones, the work captures a universal moment of disconnection in which the familiar becomes strange. By refusing to resolve the figure’s movement—neither falling nor taking flight—the artist establishes a condition of sustained crisis: a visual silence where resolution is no longer the objective, and where only the persistence of the gaze matters.