Drawn in to the shiny, wet and even seductive surface of Djimon Hounsou, we find ourselves reflected in its gloss, caught in the moment of exchange between artist, work and audience. The painting’s blackness is not merely a colour choice; it is a void that beckons you in as much as it pushes back. Frank’s use of black here is more than aesthetic—it is psychological and philosophical. This push-pull dynamic–between attraction and repulsion–is central to Frank’s exploration of the relationship between the artwork and the viewer, a theme that recurs throughout his practice.