Wounded Comores

Overall, "Wounded Comores" is a beautful, empathic, stunningly expressive work that moves me deeply.

The painting is well composed, everything works to draw the eye to the young woman's face.

The smooth, empty sea conveys the profound tragedy, 152 people lost their lives, better than any attempt to depict or suggest the carnage and destruction; and mirrors the dark/sad sky and the last falling sparks.

The falling stars work both figuratively to represent the fragments of the broken plane, and symbolically - the sky is falling - to represent the lost loved ones, income, hopes, future.

The violently perturbed clouds(?) on the horizon suggest flames or smoke, the bright white could be the incandescence of the destruction (a funeral pyre?) and/or perhaps some hope for resurrection.

The mourner, alone by the water's edge, stands in silent grief, no wailing or ranting. She appears lost in thought, looking inward, not back at the crash or out at the viewer. The tension and small frown on her forehead and the set of her lips and jaw are the only the hints of the bewildering array of feelings that we can assume are swirling in her mind. The use of similar colors in her skin tones and the sky and sea helps anchor her in the scene. The molding of her features and the warmth of her skin are beautifully rendered and at times her face seems to float above the rest of the painting.

This is a beautifully conceived and skillfully executed painting that I have found myself looking at many times over the last couple of months.

I have just three minor comments.

The light shining through the veil on her right seems not quite believable. I like very much the hints of blue but I don't see a light source bright enough to produce this effect. Perhaps there is another flare of light, similar to the bright, white plume that rises from the horizon to her left. The effect is lovely, but I am not quite convinced.

The technique used on the fabric is more realistic in some places than others. The area around her left ear and above her right temple is almost photographically realistic. It is very well done and nicely in harmony with the rendering of her face. The fabric bunched beneath her chin and draped over her chest feels more stylized. Also beautifully done, it helps keep our focus on the face, it's just not consistent with the technique in other areas.

For my money, I think the stylized approach better serves the overall painting. Photorealism too often flattens out a painting erasing any sense of hierarchy between the parts and leaving me unable to 'see the forest because all I can see are the trees.'

The colors in her face are lovely and vibrant but "expected." What would happen if there were some blue, for example? This might be my painting and not your, but introducing unexpected, complementary colors has really strengthened my work.

These are truly minor comments. This is a marvelous painting that reflects a deep affection and appreciation of the Comoran people and their hard life.