This painting belongs to the Behind the Obvious series, in which Abraham Aronovitch explores the fragmentation of identity through the prism of the gaze and the mirror dispositif. By invoking the modernist legacy, the work moves beyond mere citation to enact a displacement: the decomposition of form becomes the reflection of a deep psychological experience.

​

Facing the bathroom mirror, the face is fractured by broken lines and never achieves a stable unity. Planes coexist without resolution, allowing an emotional tension to surface that takes precedence over narrative. Fragmentation operates here as a revealer of the self’s multiplicity, transforming the reflective surface into a space of deconstruction in which the image of the self remains, by nature, unfinished and plural.