CM: Margarita Skokos' The Problem of Portraiture includes a tree on the left and the busts of a woman in the center and of a man on the right. As is the case with all of Skokos' works, the figures do not rest on the ground, but hover in the air. Taking the initiative to approach the woman, the man sticks out his tongue - an element as foreign as a great blue cigar - and he leaves a trace on her cheek. The face of the woman expresses an uncertainty between acceptance and rejection. In any case this is a scene of rape, the atmosphere of which is underlined by the electrical quality of the color. "The more electrical the color the better" claims Skokos. The faces are painted white, which is an artificial color, and therefore makes reference to masks. In the faces' absence of expression, the masks betray a concealment of feelings. In the woman's face the nose and the mouth appear to be yellow; a color which emits a particular tension with psychological connotations. The lines that interrupt the upper part of the heads on the one hand serve as covers for the inner world of the faces, while on the other deter the artist from indulging in a visual prattle. The tree laden with fruit at the edge of the painting serves as s symbol of security, and - as such - spreads its purple aura on various parts of the picture. The dripping of paint was accidental, but was welcomed by the artist.
For Skokos The Problem of Portraiture deals with the quality of truth in the work of art. The artist believes that the portrait must bring out not an unconditional reality, but that which the artist feels for the subject, even at the cost of beauty. The affected portraits are cheap and are destined for "galleries of idiots", whereas the portraits characterized by immediacy concern us all.