Do stripes originate from man’s observation of nature or are they a symbolic invention?

Do stripes that appear criss-crossed, interwoven, accentuated and colored constitute a boundary between figuration and abstraction?

Norma Bessières uses this theme to explore the porous boundary between hyperrealism and abstract art. Contrary to what one may expect, the zebra’s hyperrealistic depiction to a certain extent results in abstraction. This recalls the famous cap of Charles Bovary, which the author describes with such detail that in the end it becomes abstract to the reader.

In a comparable manner, the artist’s dialectical study in this series moves toward a reconciliation between the typically distinct concepts of Abstraction and Representation.