A two-panel painting (diptych) on wood panels, done in a bold, folk-art/expressionist style. On the left panel, an elongated, mask-like male figure with a top hat rendered in warm ochre and maroon tones faces a small yellow bird. The right panel shows a profile figure with a stylized, elongated face and a nude torso in coral/crimson, set against pale blue vertical forms resembling totemic shapes or serpentine lines. Both panels share a deep blue, layered background with a horizontal band of yellow near the base, unifying the two panels as a single composition.
On the back of the panel is a second diptych, this one on a hand-painted blue wood frame (hinged like a small altarpiece or book). The left panel shows a nude female figure in coral pink and olive tones, with an elongated neck and a stylized profile face crowned by a swept, scaled green headdress reminiscent of a bird or reptile crest - heavy-lidded, dramatically lashed eye rendered almost Egyptian in style. The right panel presents a more abstract, fleshy vertical form - a serpentine, ribbed pink-and-mauve shape topped with a coiled, eye-like spiral and a small triangular fin or axe-blade shape with two metallic rivet/stud details, ending in what reads as a foot or root form at the base.
Both panels are signed "MURUA" in block print in the lower right corner matching the visual language of Chilean painter Mario Murua (b. 1952, Valparaso), whose surrealist practice - rooted in the "Magia Imagen" circle around Wifredo Lam and Roberto Matta, and self-described as drawing on Diaguita (Indigenous Chilean) visual heritage - is known for exactly this kind of elongated, mask-like figuration and saturated tropical palette.
Unframed, 26"x36"