Glare depicts a fragmented self-portrait suspended between presence and withdrawal. Framed by darkness and rendered in disjointed form, the figure turns inward
Glare depicts a fragmented self-portrait suspended between presence and withdrawal. Framed by darkness and rendered in disjointed form, the figure turns inward
Glare depicts a fragmented self-portrait suspended between presence and withdrawal. Framed by darkness and rendered in disjointed form, the figure turns inward
Glare depicts a fragmented self-portrait suspended between presence and withdrawal. Framed by darkness and rendered in disjointed form, the figure turns inward
Glare depicts a fragmented self-portrait suspended between presence and withdrawal. Framed by darkness and rendered in disjointed form, the figure turns inward
Glare depicts a fragmented self-portrait suspended between presence and withdrawal. Framed by darkness and rendered in disjointed form, the figure turns inward
Glare depicts a fragmented self-portrait suspended between presence and withdrawal. Framed by darkness and rendered in disjointed form, the figure turns inward
Glare depicts a fragmented self-portrait suspended between presence and withdrawal. Framed by darkness and rendered in disjointed form, the figure turns inward

Glare (sometimes, even in the darkest valley there is a light) | Kadir Karababa I Acrylic On Canvas

£3,500.00

Original Oil on Canvas (Comes Framed with Velvet Detail Inlay)

Size: 40cm x 47cm

Glare depicts a fragmented self-portrait suspended between presence and withdrawal. Framed by darkness and rendered in disjointed form, the figure turns inward, its closed eyes suggesting introspection, protection, or retreat. The work reflects on emotional distance and the complex relationship between visibility and concealment, inviting viewers to consider the spaces between vulnerability and self-preservation.

Original Oil on Canvas (Comes Framed with Velvet Detail Inlay)

Size: 40cm x 47cm

Glare depicts a fragmented self-portrait suspended between presence and withdrawal. Framed by darkness and rendered in disjointed form, the figure turns inward, its closed eyes suggesting introspection, protection, or retreat. The work reflects on emotional distance and the complex relationship between visibility and concealment, inviting viewers to consider the spaces between vulnerability and self-preservation.

  • Jazmine Miles-Long describes herself as an ‘ethical’ taxidermist, producing work exclusively from animals that have died of natural causes. A taxidermist, artist, and natural history restorer, she specializes in creating bespoke, ethically sourced taxidermy for galleries and museums. Through her practice, Jazmine promotes ethical approaches to the craft, using sustainable and conservation-grade materials, traditional techniques, and meticulous attention to detail to preserve the natural beauty and character of each specimen.

    Her work elevates taxidermy as a respected art form, highlighting its scientific, cultural, and educational value. Beyond creating artworks, Jazmine delivers lectures and workshops at various institutions, exploring ethics, conservation, and the role of makers in shaping a better future for the planet. Each piece she produces is both an artwork and a tool for reflection, inviting viewers to engage intimately with the intricacy, fragility, and wonder of the natural world.

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