(Oil on panel, 2008)In the movie Suspicion (Alfred Hitchcock, 1941) we see the world from the viewpoint of a wife who suspects her husband may be a cheat and a murderer. But when two police inspectors come to call, and add to her doubts about her husband’s behaviour, we momentarily see the world from another point of view. One of the inspectors is startled by the Picassoesque reproduction he sees on her wall, and we are supposed to share his confusion about a painting that epitomises the incomprehensible way in which modernist artists chose to depict reality.
