The thorns warn.
The hand stops, then goes
right where it hurts.
In the mirror we see ourself, it puts us to the test, it is the boundary between reality and our minds?
Its thorns are a visual message that repels, frightens, yet immediately attracts.
The danger, in this sense, is to face ourselves.
We are all drawn to touch, aware of the danger of getting hurt.
What’s more attractive than a risk?
The mirror is a threshold. It reflects not just the body, but the boundary between what is real and what the mind constructs, to look is to be tested.
The thorns speak first, a visual warning that repels and frightens, yet draws the eye closer. This contradiction is the work’s core: danger is not external here, it is the self, faced directly.
We reach anyway. Aware of the risk, we touch. Perhaps because nothing is more attractive than the possibility of being hurt.