When I first saw this version of Brâncusi’s sculpture, which is itself a copy of a marble original, I was struck by the reflective quality of the bronze “skin.” As one walks around the work, the room and oneself are reflected and distorted within her face, neck, and hands. I became fascinated by the constant motion of this reflection provided by the circulation of visitors in the room. It called to mind the Byzantine mosaics and medieval gold ground altarpieces which come alive in the presence of flickering candlelight, their faces and bodies responding to the lively flame. Margit seemed to me alive, yet still, determined to hold her pose.

In replicating the sculpture two-dimensionally, the artwork as a mirror became even more obvious to me and I began to wonder what aspect of this piece was truly drawing my attention: Margit or the environment? Would I have noticed the blue light emanating from the room beyond if not for the need to portray its reflection? Would the complexity of this image exist without the room in which it was displayed? 

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