In this drawing, two figures rejoice at what they see. But the first does not suspect that he is what the second sees.
The first character – a man – is nude. Lying on a white bearskin, which we imagine silky and comfortable, he smiles as he gazes at the sun whose rays pass through a skylight. He seems to enjoy the warmth of the sun, which caresses his face and shoulders.
He is alone at home. He enjoys the sun in secret, and for good reason: he has gotten into his simplest device to indulge in pure relaxation. No one can see him from the outside. He is in his secret garden.
As if to wring the necks of the usual prejudices about the sex of the abusers and the abused, the second character is a woman. She is a hiker who spies on him stealthily, hidden in the thickets, as if watching a wild animal in its natural environment. She has placed herself at a distance to make sure she is not spotted, and has pulled out binoculars.
Paradoxically, the naked man has become an animal. Dressed, he will become a man again.
The dominant color of the image is blue, the color of dreams, hope or escape. It contrasts with the orange and yellow that emanate from the window, to draw the eye to that spot, as if the observer weren’t meant to see the woman either. So that observer is initially put in the place of the man, also feeling the heat of the sun’s rays and the well-being he experiences. The eye is gradually drawn to the voyeur, hidden in the middle of the leaves, cap screwed on her head, in the lower right corner.
This visual has a funny side, as it depicts a “watered sprinkler.” The reader here is an omniscient god: watching, analyzing and commenting on the situation. If they knew they were being watched, who would be more embarrassed, the man or the woman, after all?