The face emerges from deep shadow on the left, half-consumed by darkness, while the right side fractures into impasto-style planes of teal, turquoise, white, and warm ochre that read like light breaking through something solid. Diagonal scratch marks cut across the upper right in raw cobalt and copper, sharp and deliberate against the layered surface beneath them. The hair on the left dissolves entirely into black, weightless and absent, while the right side ignites in deep violet, royal blue, and crimson, thick directional strokes moving with the energy of something in motion. A single eye catches the light with startling clarity, blue-grey and fully present, the one fixed point in a composition that refuses to settle. Splashes of red and amber scatter across the lower left background like embers shaken loose. The neck and chest are built from gold, teal, and burnt orange fragments, colour stacked on colour with no apology.
Rebirth is rarely gentle. It is loud, disorienting, and coloured in ways that do not immediately make sense. This piece sits inside that moment between dissolution and arrival, where the old form is still visible but the new one is already pressing through. The scratches cutting across the surface are not damage. They are evidence of the process, the marks left by something fighting its way out rather than waiting to be revealed.
That single eye is the anchor. Everything around it is movement, colour, and controlled chaos, but the eye is still and it is watching. That contrast is where the piece lives. Rebirth here is not triumphant in any comfortable sense. It is honest about the cost. The darkness on the left is not the background. It is what she is still carrying while the colour on the right pulls her forward. Both are present at once, and neither wins.
The palette is one of the most saturated in the collection: deep teal, royal blue, violet, burnt amber, crimson, and gold against a near-black ground. It demands a wall that can hold it, whether a dark charcoal feature, a deep green or navy surface, or a raw concrete finish. In lighter rooms, it works as the single dramatic statement, pulling the entire space into its orbit. The composition reads from across a room before the detail registers up close, making it particularly effective in larger spaces: open-plan living areas, hotel lobbies, stairwells, and gallery-style hallways. Warm lighting brings the amber and gold forward. Cooler light lets the blues dominate.
For someone who has been through something significant and wants art on their wall that understands that, without sentimentality and without resolution.
This design is available in a range of sizes to suit your space. Available as A0 and A1 poster prints, rolled and shipped. Also available as mounted art prints in 16mm, 25mm, 35mm, and 50mm profile thicknesses in both A0 and A1. A large format 1200 x 2000mm option is available on both poster and mounted. Floating frames are available on request. Email jacques@jacquesviljoen.co.za for a quote and full details. Please note that proportions, decor, and frames shown in previews are for display purposes only. Your final print dimensions will depend on the size you select.
The most popular size across our canvas range is the A0 in a 35mm profile frame.
