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With Maggie, Sophie Dumont continues her exploration of the human figure, reducing it to a few essential forms. The face is constructed through successive planes of warm whites, ochres, deep burgundies, and darker tones, set against a textured blue-grey background.

Here, geometry is not intended to describe a face precisely, but rather to suggest a presence. Scraped areas, overlapping layers, and surface irregularities disrupt the construction, keeping the painting poised between portraiture and abstraction.