Portrait in a Trompe-l'oeil

[Alexandra Tyng]

Marina! This just leaves me speechless! I think I saw it in process, somehow--maybe in the photos you sent. Even in process it looked like it was something new and special, but the finished product leaves me awestruck in so many ways.

Frst of all, the illusion is fascinating, not only becase it is so well done, but also because it does not seem gimmicky, but purposeful, as if the baby had something to do with the picture falling out of its frame and is now connecting itself with the action by leaning on the frame and emerging from the illusary picture plane.

The other striking thing is the totally convincing texture of the baby's skin and hair, her classically positioned hands, and the mythological implications of the pomegranate. Just that pomegranate in her hands could be the subject of the painting because of the way you've contrasted her totally unself-conscious gesture, her innocence, with this heavily symbolic fruit. But the fact is that you have all these other layers of interesting things including the flawless techique, strong concept, purposeful execution of your concept, and all the illusion to occupy the viewer's attention.

You go girl! Go all the way with this one!

[Claudemir Bonfim]

That's a wonderful piece Marina.
I showed that to some of my friends and everybody thinks that's stunning.
Congrats.

[Garth Herrick]

Dear Marina,

I join everyone being speechless yet delightfully enchanted! Even having seen a preview of this, somewhere along the way, nothing could convince me you painted that perfectly real frame until you revealed the back side. This is totally magical, and as Alex rightfully points out, not gimicky! The concept appears so natural; one would expext a toddler to be found in such a humorous dilemma. I have also painted a few cut-out figures in the past, and this is way better in perfection of trompe-l'oeil than I have ever witnessed. You have me in complete awe.

Garth

[Marina Dieul]

Alex, Claudemir, Bonfim: thank you all!

Until recently, I was thinking that trompe-l'oeil and figures were too different to be mixed, except painting an object or a piece of paper over a portrait. The begining of this concept came from a study for a commissioned trompe-l'oeil. As I was completely fascinated by painting babies, I just naturally thought to put a baby in a frame: The client didn't like the idea. After playing a bit with this idea, I decided to do it anyway because it appeared to me so evident, like if this painting had to exist. It's a bit like if all the differents roads I took in my life were meeting here...
I'm very glad that you feel the concept looks natural, because for me it was something absolutely natural, as if this concept was floating in the air and I just caught it to give it a physical form.

[Carol Norton]

Absolutely, positively original and beautiful! Your painting defines wall presence.

[Cindy Procious]

I'm going to break my brushes and go weep in the corner.

Marina, this is wonderful. Congratulations on yet another successful work of art.

Where's the bowing-down smiley?

[Alexandra Tyng]

Originally Posted by Marina Dieul

Until recently, I was thinking that trompe-l'oeil and figures were too different to be mixed, except painting an object or a piece of paper over a portrait.

This strkes me as a perfect example of the process of how we artists achieve a breakthrough in finding our unique styles. It is strange how we can start out thinking that different things we are interested in (different subjects or ways of painting) have to be kept separate. Maybe they have to start out existing separately in our minds in order for us to appreciate the significance of their coming together.

Originally Posted by Marina Dieul

The begining of this concept came from a study for a commissioned trompe-l'oeil. As I was completely fascinated by painting babies, I just naturally thought to put a baby in a frame: The client didn't like the idea. After playing a bit with this idea, I decided to do it anyway because it appeared to me so evident, like if this painting had to exist.

This is such a fascinting realization and I think it will have a major effect on your creatvity and career from here on.

[Mischa Milosevic]

Marina, I am so glad to her and see that you are rediscovering your love for art. I love this combination baby in frame and you have proved it can work. Thank you for sharing your joy and your art with us.

Wish you all the best

[Tom Edgerton]

Fantastic, Marina!

As well as exhibiting your usual flawless execution, this is another challenge to me to stretch for the original concept.

[Enzie Shahmiri]

Marina, I love your ideas. You not only can paint fantastically, but have a real nack to keep us captivated time after time. Absolutely awesome!