A large, imaginary face meets the viewer in “Innocent Chaos” by Fardin Yasami. Painted in creamy white, the figure has two dark-red oval eye shapes and a broad orange mouth surrounded by pink. A bold blue outline separates the pale figure from a vivid turquoise background.
Two pointed shapes rise above the head, while long, curved appendages descend along both sides. Below, the figure narrows into a neck before widening into a foot-like base. Grey and dark marks interrupt the white fields, and irregular traces give the open areas of background texture as well. A red band along the upper edge echoes the warm colour of the eyes.
The subject has a direct, playful quality, yet the face’s expression remains ambiguous. Its open eye shapes and prominent mouth may suggest surprise, curiosity or a quiet question. The vertical 90 × 120 cm format gives the frontal figure a distinct presence, emphasising the contrast between simple shapes and a worked surface.
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- Original acrylic painting on canvas by Fardin Yasami.
- Including wooden frame.
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"Der er også brugt oliepastel og groft sand på dette lærred." Fardin Yasami
- Signed by the artist.
- Any questions regarding this artwork, please contact us.
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A large, imaginary face meets the viewer in “Innocent Chaos” by Fardin Yasami. Painted in creamy white, the figure has two dark-red oval eye shapes and a broad orange mouth surrounded by pink. A bold blue outline separates the pale figure from a vivid turquoise background.
Two pointed shapes rise above the head, while long, curved appendages descend along both sides. Below, the figure narrows into a neck before widening into a foot-like base. Grey and dark marks interrupt the white fields, and irregular traces give the open areas of background texture as well. A red band along the upper edge echoes the warm colour of the eyes.
The subject has a direct, playful quality, yet the face’s expression remains ambiguous. Its open eye shapes and prominent mouth may suggest surprise, curiosity or a quiet question. The vertical 90 × 120 cm format gives the frontal figure a distinct presence, emphasising the contrast between simple shapes and a worked surface.
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