Anna, you have made a dramatic, impressive portrait. It seems, pictorially, to hint at complex factors that remain a (visual) mystery - until you verbally clue us in to Goddess Algea’s story. The aesthetics of your portrait are beyond reproach, barring some quibbles here or there, about shadow or form details (for me, the oversexy breasts are actually out of character for her - presumably, she didn’t create her own body?). The transition of background light in the sky, from shining below her feet up to the dark empyrean, is particularly effective. Perhaps her elegant, jewelry-like chains might gain force if they retained their high polish, but were more recognizably shaped as simple, heavy links - precious, treasured materials, binding her. She is erotic, fertile, somehow stunned in her evident intelligence, rising to & with a pale fire (no, not Nabokov’s) of spiritual enlightenment, & in conflict about loving to be bound & trapped in (hiding in?) a known captivity - would, instead, real freedom be more terrible for her? No need to make this Goddess cry. That would be mawkish, a sentimental cliché. Goddess Algea, chained to wild cliffs, up against the heavens, & utterly urban, fashionable in glamorous high taste, yet faraway in her metaphysical entrapment. Meaning no slur, seriously, would not this dramatic portrait be a perfect paradigm of the conundrum of modern (post WWII, Simone de Beauvoir) feminism? Use the key to be truly free, independent, & in a sense, alone? Flame me for the question, but today, this is a vital issue for the world, not so? And so, visibly, your artistry here embodies this Goddess’ rare, dramatic contradiction of her defining Sorrow - her fiercely kept Sorrow, her chosen identity - multilayered, condensed, an inner, dark radiance giving birth, in spite of herself, to a magic light. Do more. Paint over, under, around - who gives a damn what you choose to employ in your expert technique? You have given us a splendid, convincing Goddess of Sorrow. Finally (yes, lots of words…), your Concept image has excellent gesture & potential movement, physically & within the narration of Goddess Algea’s story: Is she closer to using her key? Would that be prior to, or at a later phase, of her state of Sorrow in the finished portrait? It might be worth a finished treatment expressing that? Cheers, Anna - great work.