Here is the female counterpart of jester. In this case, the painting is titled “Reception” and with “Gift” part it composes a conceptual diptych where the female is a sort of “copula mundi”, a vehicle of transcendence without which whatever spiritual content remains untouched.
The artist shows how much the male needs his opposite female part, because without a conciliation every type of self-centeredness is destined to collapse in on itself. To realize the intimate message of the artist we must observe these cards together, next to each other. “Reception” has the same shapes, same garments, same hat, which records the hope to find a complementary part, however often undermined by obstacles. These two compositions are two different structures of the same energy in which the “Gift” seems floating into “Reception”.
Unlike the male card, this is painted in the act of offering one of the seeds that connote the welcoming nature, as if to emphasize – quite thinly – the docile, subservient and conciliatory issues of who cultivates a desire of life. This gesture helps us to understand that, with the right conditions, there is no limit during the process of imagination. In other words, the pure mystery of creation appears in all its clarity, provided that the eye is pure too. This connection allows a process of identification both in “Gift” and “Reception”. They are complementary, since they are different aspects of a single whole.
This harmonious Taoist dance tells story of conciliation of the opposite poles. Each part exists not outside the universal conciliation but as an active participant in it, so this conciliation, to the painter, means something that includes both, body and soul, female and male. The entire composition leads us to speculate about the willingness of Amanda to explore new possibilities of outlook, which is always accompanied by an ironic attitude, even when seems a difficult practice.