Renata
Renata belongs to the same series of blue female figures emerging from sepia backgrounds. Here, however, something shifts more deeply: the figure no longer seems merely to rise, struggle, or conquer; she appears to be crossing a threshold. The work evokes that inner moment when a being consents to leave behind an older version of the self, to abandon an identity that has become too narrow, in order to enter a new form of presence.
The silhouette appears in a broad, almost whirling movement. The open arms, the tilted body, and the fluid contours suggest a transformation in progress. The figure is not presented as a stable or fixed body, but as an apparition in transition, at the boundary between erasure and revelation. She seems to be undoing herself at the very moment she takes shape.
The sepia background still carries the memory of former frameworks: expectations, norms, inheritances, and imposed loyalties. In relation to this, the blue figure does not engage in direct opposition; instead, she performs a more radical metamorphosis. She is no longer only struggling against what confined her: she is symbolically dying to what she no longer is. This death is not tragic; it is an act of shedding, a necessary passage, a way of creating silence within oneself so that a wider truth may emerge.
In Renata, dying to oneself does not mean disappearing, but renouncing former forms of being: those that reassure, those that imprison, those that were built in response to external demands. The figure thus becomes the site of a rebirth. The gesture is no longer merely one of resistance; it becomes one of offering, of fruitful surrender, of inner reconfiguration.
Through this work, Hajar continues her exploration of emancipation as a process of deep transformation. Renata embodies the moment when one understands that liberation does not consist only in opposing what confines us, but also in consenting to the end of certain versions of oneself, so that a freer, barer, and more essential presence may come into being.
