This piece is very well titled, being disassociated, detached, objectively lamenting. The images form a square, indistinct masses clearly depicted in the foreground, giving the impression of pulling away from each other, yet hesitant to do so. It seems as though these masses were once joined and now remain immobile in their partial separation. This could be interpreted as a yin/yang, masculine/feminine aspects, two parts of a whole, any opposites or contradictions that need each other in order to maintain themselves. In the background, there are two separate, indistinct shadows. On the left, representing logic, solidly physical concepts, the figure in the foreground is the dominant of the two, the shadow behind it less clear. The intentions of the dominant figure (shown in the shadow), are only known vaguely. There are impressions of a half hearted struggle, the essence of a human being reaching for or attempting to pull something into it's realm of understanding without much force of will; giving up but holding on. The will of the receptive figure on the right, indicating intuition and abstract assuredness, is known to the figure itself. This concept or idea is angered by it's inability to set events into motion, the figure in it's subconscious, the shadow, is desired desire and strength attempting to bring itself into the light. Upon first viewing, the painting gives the illusion of serenity, languidness, but clearly depicts the first inkling of a desire to action, albeit a faint one. The withdrawal has occurred and lingers on, but there is something restless in the horizon.

Ashton Rayne