Dissimilation (Green Star) presents two women in black niqabs, their faces fully covered except for their eyes. The image is stylized, high-contrast, and confrontational. The figures do not speak—they look. Their gaze is direct, but their identities are withheld. In a visual culture obsessed with exposure, their concealment becomes a provocation.

This is not a portrait of oppression. It is a portrait of refusal. The niqab, often misread as erasure, becomes a form of agency—a chosen invisibility that resists the demand to be legible within dominant systems. And yet, this refusal is perceived as threat. The fear lies not in what is seen, but in what is hidden. In the possibility that power might reside outside the frame.

The green star marks the work’s position within the series—components of a chromatic structure that threads through Dissimilation, without symbolic interpretation. What matters is the alignment: each canvas refracts the same idea from a different angle.

Within The Triumph of Romanticism, Dissimilation (Green Star) reveals how visibility is politicized, and how concealment can be read as resistance. It is a disruption. A visual pledge to the power of opacity, where identity is protected, and threat is projected.