Roy Lichtensteinlaunched his Mirror series in the late 1960s, concluding it in the early 1990s. His Mirrors study the symbolic implications of the mirror motif in art and mythology. Historically, mirrors have been used to reveal complex perspectives and invisible truths. Honouring the traditions of object painting, Lichtenstein’s Mirrors maintain the physical appearance of the item. However, the artist dismisses its symbolism and functionality, liberating the object from its intended purposes.
Mirror #2, executed in 1972, captures an enlarged circle rendered in vivid primary colours. The print exhibits a fragmented and fading version of Mirrorof the same series. Minimalistic screens of dots span the circular shape, alluding to the smooth and reflective attributes of glass. Meanwhile, faint jagged lines constitute the circle’s framework. Lichtenstein’s pop style undoubtedly forms, yet also obscures the central image at the same time. Mirror #2 is depicted head-on and devoid of any reflections. The print is as much a misrepresentation, as it is an illustration of a mirror.
Over the course of his career, Lichtenstein embarked on several other series dealing with vision and representation. His Water Liliesand Reflections, for instance, explore various perceptions of light and reflection. Meanwhile, Lichtenstein’s Entablatures delve further into object painting, reproducing enlarged architectural fragments as their main composition.