Estefania is always framed. She is contained by paintings of her, surrounded by window frames, the silhouette of the paravent, the accusations arising from it and ultimately she becomes a product of the house she inhabits and embodies.
Everything within her homely walls represents her inner state, there is only one way out and through. And it will not happen without the shattering of glass and delusions. She tragically turns her back on the double-edged characters that could help her, but she remains adamant that her best interest would be the last thing on their minds.
All the frames that torment Estefania’s mind cannot be broken and she can’t escape what lurks inside of her. She is a refugee in her own body.
“Weiblicher Studienkopf mit Hut” by Victor Müller (1830-1871)