‘Multiplicity’
Multiplicity is a portrait about the versions of ourselves that coexist beneath the surface. The face is split like a double exposure, as if two emotional states are happening at once: one revealed, one hidden, both unfinished. The hand becomes a mask, a shield, a way of choosing what to show and what to hold back.
The grayscale palette makes every transition feel psychological rather than decorative. Shadows merge into memory, highlights behave like instinct, and the fractured silhouette reads like internal weather rather than anatomy. The surface is calm, but the mind is restless.
What surrounds the portrait is just as important as what’s inside it: handwritten notes, confessions, crossed-out thoughts, insecurities, unfinished sentences, chaotic repetition. The frame becomes a diary — a space where internal dialogue lives without censorship. Multiplicity is not simply an image of a person; it is the landscape of a mind negotiating desire, identity, fear, longing, self-awareness, and the need to be seen.
We don’t have a single self. We have many — past selves, imagined selves, impulsive selves, spiritual selves, soft selves, angry selves. Multiplicity is a reminder that identity is not consistent or contained. It moves, collides, contradicts itself, heals, regresses, reforms. This painting is a portrait of emotional pluralism — the beautiful, messy truth that who we are is never singular, neat, or stable.