This is another painting I produced in which I tried to limit my pallet choices to very few; in this case one blue, red (in two key portions of the painting,) and white, to relieve the blue. It was also fairly late in my decoupage period, in this case the paper prop is centermost, focal, and the two lovers are forever separated by it's appearance. The gas-masked figure has for a very long time been an integral image for me. The dehumanising aspect of wearing the mask (any mask for that matter) is very appealing, in a leery sort of way.

The stretched face of the female is also an old image, drawn from my very earliest paintings in which a stretched or drawn-faced figure cradles empty air.

The DETAIL shows the decoupage without the flash glare, and in greater detail.