Half gazes and multiple points of view
This pixel painting sharing a web page with the text you are reading doesn’t pretend to be a window, like an old-timey painting does. But it is of a window; of a window and a door and a mirror. It’s half a gaze and of several other half gazes as well, if that makes any sense.
Everybody in it: the three artists — the voyeuring, the successfully galleried and me, the twice shown, watched and watching couple, the fantasy, the mirror, even the imaginary spectator are attempting to gaze, but nobody is looking back – half gazes everywhere.
The first unseen artist has begun a painting au plein air and in it he makes concrete his fantasy of a beauty is approaching him. But looking from an imaginary spectator’s point of view looking at this first painting-in-a-painting, it’s obvious that she’s not approaching him because she’s otherwise involved in an intimate way with someone else altogether.
This model-couple is also in the gallery (exhibiting the second unseen artist’s work.) they are spectators themselves, just moved on from the second painting-in-a-painting. That painting is of what the first painter’s fantasy woman would see — the back of the easel outside of her window. That is, if a fantasy can have point of view.
Switch the mirror and the painting it’s not in; then the painting that’s not a mirror and the now honest mirror would be showing that imaginary spectator the truth. The woman in the bathroom would see the easel outside her bedroom window and our imaginary spectator would see the woman in the gallery.
But who are all of “us” in here? Me I know, feel even. The couple and the fantasy I know too, I paint them, I paint them all the time. The artists are not painted but implied by my painting of their paintings of fantasies and paintings of paintings of paintings of fantasies. But you, the imaginary spectator taking in the whole scene, I don’t know. You are as much a fantasy for me as the half-dressed beauty is that of the voyeuring artist I’ve implied.