Alan Feltus’s pictures are serenely modulated pas de deux, with figures who are mirrors of each other engaging in an arrested dance. The figures are less particular people than archetypes (one thinks, for instance, of the myths of twins and of animus and anima, the male and female aspects of the soul). So precisely calibrated are their spatial relationships that the figures could be attached with invisible wires; if one were to move, so would the other. When Feltus presents a single figure, she is often portrayed as an artist considering a self-portrait. The artist gazes outward, and the viewer takes the place of a mirror.
