Writing in the Miami Rail, the critic Alex Bacon observes that Provosty employs (as in this painting), “several formal devices, including a juxtaposition of matte and glossy passages that variously reject, capture, and reflect light as well as the painting’s surroundings, along with careful attention to the edge of the painted field, where Provosty places subtle passages that pinch and curve pictorial space such that there is a general sense, on the part of the viewer, that the space is turning either clockwise or counterclockwise, at different rates and with varying intensity depending on the way Provosty handles these compositional elements.” Provosty likewise varies glossy passages that capture ambient light with matte elements that surround them. And she further affects viewer perceptions by subtly playing with the canvas edge, destabilizing its otherwise rectilinearity.
See also Nathlie Provosty Discusses Image-Making | In The Studio | ArtDrunk
