Sara, It is the portraiture of a Yemeni model. To begin with, I added patterns around her face imitating her veil. Also, her symbols share some similarities with ours in their repetitive forms and shapes.
SARA
Yemen’s culture is of Arab heritage, divided between Sunni Muslins of the Sahafi school and Shi’a Muslims of the Zaidi school.
There are small groups of Jews, Hindus, and Christians. For example, in 1949 and 1950, about fifty thousand Yemeni Jews left for Israel. In 1998, migration and a high infant mortality rate limited the annual growth rate. The birth rate is high, and almost half the population is under fifteen.
Culture
On the other side, in contrast to her soft feature, her character is very out forward. She grew up in the Bronx. I recalled talking to her about her ethnicity and their arranged alliance. She was so upset and replied, “She will deny it.” Years later, I found her already married, and she told me she was pleased with her new marriage. I was very happy for her.
SARA
Furthermore, In the technical, the colors are an improvisation. It was the end of springtime, and summer was around the corner. So, I decided to use dark blue on the top and turquoise at the bottom. The silver marker creates an exotic look, just like her wedding motif. Her eyes are of an innocent observing—nothing to hide and fear.
Culture
Moreover, Ideas sometimes come quickly. Other times, I wait to make them meaningful. She has never seen her eyes in this painting, for I lost contact. perhaps one day she will.
In conclusion, her portraiture is an allegory to her innocent and her growth in a different society which is more relevant than her own ethnic country of birth.
SARA
Oil on canvas and Mixed Media, size 28″ x 38″ 2017
Video Link