With this articulated relief, Raetz creates an image for the act of looking and the way it is grounded in the mind. Together, thought and the direction of one’s gaze form perception, which is in constant transformation according to the point of view. Only three hues are employed to colour the piece in its entirety, i.e., white on the torso and face, pink on the background and green to accentuate the volumes. This limitation of the artist’s palette, in a tonality that is both subdued and bright, situates the work in the vein of 1960s Pop Art.
The model for the profile was Walo von Fellenberg, a writer, photographer and Raetz’s partner in analysing the gaze. He is seen, moreover, in other wooden reliefs dating from 1966. It was also in the 1960s that Raetz first introduced his exploration of the construction and deconstruction of images in pointillist networks, as this relief attests. Indeed this work already crystallises the subjects that will eventually form the bulk of Raetz’s output. It aims to demonstrate, through a composition that places the human face front and centre, the degree to which the intellect and the eye are closely linked and interdependent.