What do we see when we look at a woman? And what exactly are we framing: the body, the presence, or our own desire? This exhibition brings together six artists—three women and three men—who each confront, in their own way, the act of portraying women not only as subjects but also as projections, constructions, and reflections. Their works question the traditional image of the female body as a passive object and instead propose expressive, psychological, aesthetic, or hyperrealistic representations that reveal the role of the artist (and the viewer) in shaping what is seen. Some artists look inward, exploring introspection, resilience, or psychological depth in their portraits. Others engage with the female figure through aesthetic precision, symbolic language, and emotional intensity, inviting us to reflect not only on the surface but also on what emanates from within. Their works revolve around presence, aura, or silence—what is felt as much as what is seen. What unites them is not a shared style, but the frame: both the physical limit of the canvas or paper, and the conceptual act of defining, interpreting, or revealing a presence through one's own gaze. The title is a reinterpretation of the well-known warning that appears on rearview mirrors: "Objects in the mirror may be closer than they appear." It reminds us that the image we observe may not be distant, neutral, or innocent. The "framed" woman is closer than she appears, perhaps because she already lives within us: as fantasy, memory, fear, or projection. Twelve eyes, six voices, and infinite ways of seeing her and of seeing ourselves reflected in her.
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