The work is the artist reflection upon the beautifull story of the youngest and favourite daughter of the Prophet Muhammad. Fatimah the fourth daughter of the Prophet, is the "head of the ladies in Paradise". It is said that the name Fatimah was revealed by Allah. Of all the daughters, she was the most loved by the Prophet Mohammad. Whenever he went out on a journey, she was the last one to part and when he returned home she was the first one to meet him.
This oil painting is mesmerizing. The centerpiece, in which black is the dominant figure, has a discernible life form. What type of life is the key question?
Some may look at it and, on the basis of the top left predominantly black, with a few dark shades of gray, see as wings. Hence, it can be interpreted as being a bird, more likely a phoenix, being reborn with the fire surrounding it.
The intensity of the red surrounding this figure render it an acceptable interpretation. When assessing the piece from this perspective, the centerpiece is lying in a fetal or protective position.
While predominantly black there are gold, green, blue, yellow and burgundy on the upper part of the body. Of tremendous interest is the purple which appears just below the neck, that is not interspersed by other colors. It is pure purple, a color only worn by royalty and/or powerful individuals. Does the artist see Fatimah Bint Muhammed in that light?
Fatima is looking at the divine well or mirror and is surrounded by fire, much of it being highly intense. Is this the fire of knowledge; the passion for learning or the intensity of her feelings towards a particular person or her children?
Fatima is not harmed by the fire as the painting depicts her as surviving it. The fire is in the background and she is in the forefront. The artist may suggest that she dominates the fire, not vice-versa, more so because of her status; or because of her life story? She is well-protected.
It is an important work for its sense of geometry, a study of islamic history in space within its fragmentation and expresses a notion of freedom while simultaneously conjuring up incarceration and hell. The relevance of this work resonates in an increased language of globalisation of today, cementing Virtosu as an important figure in international art history and cultural discourse.