Tchelitchew, Pavel (1940-42). Hide-and-Seek (cache-cache) [oil on canvas]. © SuperStock, inc.

A psychologically complex, surrealistic work that embeds figures into negative space and then switches this space into positive, causing the same to happen to the original positive space. This is accomplished largely through field and ground area equivalency. Flesh, organs, blood and birth are all strongly implied in how forms are built. | 

Two depictions interact simultaneously on the canvas. Figurative shapes are embedded in the negative space of the “main depiction”, which is a young woman struggling to climb a massive, gnarled tree. The attention of the “secondary depiction” figures is toward the central individual. Their subtle, almost subconscious, rendering suggests they may be connected with an other-worldly existence, such as the spiritual.
 
Complementary color (red versus green), shape and negative space forming further shapes are the primary elements used. They are unified to a standard that is difficult to describe and to a degree beyond that of most master works. Although the youthful figures in the “secondary depiction” seem to be implied, they are incredibly detailed (especially with regard to tone) and quite clear to see. Tchelitchew has managed to cause branches and roots to resemble veins and arteries, tree knots to resemble digits and internal organs. An overall texture implying living flesh is present.


One scenes negative space is anothers positive; their roughly equal areas create confusion as to which scene is grounded in reality (and therefore primary). This tension applies in equal measure to any sense of space; it is confused. However, the “main” scene uses value to flesh out shapes and foreshortening to create depth. Value creates depth in the “secondary” scene to a lesser degree, as does diminution. A sense of depth of one depiction is fragmented from the other.


The canvas is thoroughly stabilized by the massive tree. This is underpinned by the directional gazes of the “secondary” figures. These qualities place the center of attention on the undersized, foreshortened figure in the center of the canvas. This work employs both elemental balance and dominance. It is built on organic shapes that seem to be living and breathing. There is strong conflict between light and dark tones, with mid-tones barely extant. This contrast is the skeleton of this piece. 

One possibility of what is being rendered in this work is that the young girl is heroically confronting a tree animated by a dubious, malevolent spirit. The overall rendering of the tree is dark and could be foreboding, and the expressive qualities of the young figures trapped within its strangling roots suggest they look on the hero with hope of rescue.