Two Sides of the Same Coin

Every playing card carries two images. One gives the card its identity and rank. It is the face, distinguishing one card from another. The other is the back. It has to be decorative enough to be pleasant, repetitive enough to conceal, symmetrical enough not to betray orientation, and memorable enough to define the deck as a whole. Its principal task is to withhold information.

Japanese folding screens, or byōbu, follow a similar logic. As mobile walls, they inevitably present two faces to the room. In Japanese tradition, this two-sidedness follows a clear hierarchy, with the image on one side and an ornamental, cloth-covered or gilded reverse.

But why give up the opportunity to paint both sides, as European winged altarpieces often do? A winged altarpiece is designed for precisely this purpose. Its different images belong to different moments. They are revealed through the opening and closing of the wings. A byōbu, on the other hand, presents both faces to the room at all times.

Two independent paintings on opposite faces can never be seen by the same person at the same time. Every view necessarily excludes the other. They are inseparable as objects, yet mutually exclusive as images. A relationship between them is almost inevitably imagined by the viewer, but it can never be observed directly. One image is always remembered while the other is seen.

Coins are interesting in this regard. One face may show the denomination, the other the portrait of a king or queen, or a national emblem. Together they describe different aspects of the same object.

Scott Walker explores the peculiar logic of two-sidedness in a remarkable passage from his lyrics for Ute Lemper’s Scope J:


On the outside
Grows the furside
On the inside
Grows the skinside
So the furside
Is the outside
And the skinside
Is the inside
Oneside likes the
Skinside inside
And the furside
On the outside
Others like the
Skinside outside
And the furside
On the inside
If you turn the
Skinside inside
Thinking you will
Side with that
Side then the
Softside fursides
Inside which
Some argue is
The wrong side
If you turn the
Furside outside
As you say it
Grows on that side
Then your outside’s
Next to skinside
Which becomforts
Not the right side

Heraclio Fournier playing cards, Vitoria, Spain, early 20th century. Faces and backs of the same deck.
Heraclio Fournier playing cards, Vitoria, Spain, early 20th century. Faces and backs of the same deck.
Biermans playing cards, Turnhout, Belgium.
Biermans playing cards, Turnhout, Belgium.
Japanese eight-panel byōbu. Painted front with patterned reverse visible at right.
Japanese eight-panel byōbu. Painted front with patterned reverse visible at right.
Ogata Kōrin, Wind God and Thunder God, c. 1700.
Ogata Kōrin, Wind God and Thunder God, c. 1700.
Around 1815, the Rinpa painter Sakai Hōitsu, an admirer of Kōrin, painted Flowering Plants of Summer and Autumn on the reverse, creating one of the rare historical examples of a byōbu painted on both sides.
Around 1815, the Rinpa painter Sakai Hōitsu, an admirer of Kōrin, painted Flowering Plants of Summer and Autumn on the reverse, creating one of the rare historical examples of a byōbu painted on both sides.
The Ghent Altarpiece, closed. The Annunciation with donors and saints. Hubert and Jan van Eyck, 1432.
The Ghent Altarpiece, closed. The Annunciation with donors and saints. Hubert and Jan van Eyck, 1432.
The Ghent Altarpiece, open. The Adoration of the Mystic Lamb with God, the Virgin and St John the Baptist. Hubert and Jan van Eyck, 1432.
The Ghent Altarpiece, open. The Adoration of the Mystic Lamb with God, the Virgin and St John the Baptist. Hubert and Jan van Eyck, 1432.
Altarpiece of the Patron Saints of Cologne, closed. The Annunciation. Stefan Lochner, c. 1445.
Altarpiece of the Patron Saints of Cologne, closed. The Annunciation. Stefan Lochner, c. 1445.
Altarpiece of the Patron Saints of Cologne, open. The Adoration of the Magi. Stefan Lochner, c. 1445.
Altarpiece of the Patron Saints of Cologne, open. The Adoration of the Magi. Stefan Lochner, c. 1445.
Athenian tetradrachm, 5th century BC. Obverse with Athena. Reverse with owl, olive sprig and ΑΘΕ (Athens).
Athenian tetradrachm, 5th century BC. Obverse with Athena. Reverse with owl, olive sprig and ΑΘΕ (Athens).
British one penny coin, 1882. Obverse: Queen Victoria. Reverse: Britannia and denomination.
British one penny coin, 1882. Obverse: Queen Victoria. Reverse: Britannia and denomination.
Ute Lemper, Punishing Kiss, 2000. The album includes Scope J, written by Scott Walker.
Ute Lemper, Punishing Kiss, 2000. The album includes Scope J, written by Scott Walker.
Vinyl singles follow an obverse/reverse logic. Sometimes the B-side ultimately proves more enduring, as with The Beach Boys' God Only Knows, released as the reverse of Wouldn't It Be Nice.
Vinyl singles follow an obverse/reverse logic. Sometimes the B-side ultimately proves more enduring, as with The Beach Boys' God Only Knows, released as the reverse of Wouldn't It Be Nice.
Them's Gloria, released as the B-side of Baby, Please Don't Go.
Them's Gloria, released as the B-side of Baby, Please Don't Go.
In 2013-14 I painted a six-panel folding screen.
In 2013-14 I painted a six-panel folding screen.
Philipp Fröhlich's folding screen at the studio.
Studio view of the screen.
I found the idea of two independent images on the same folding object confusing, so I painted only one side and gilded the other.
I found the idea of two independent images on the same folding object confusing, so I painted only one side and gilded the other.
In 2022 I returned to the same question with a single-panel screen.
In 2022 I returned to the same question with a single-panel screen.
It revolves around the dialogue between two paintings that can never be seen simultaneously.
It revolves around the dialogue between two paintings that can never be seen simultaneously.
Philipp Fröhlich's paravent Head Above Water (373P), 2022, oil on canvas mounted on a free-standing double-sided wooden panel, 200 x 150 x 30 cm
Head Above Water (373P), 2022, oil on canvas mounted on a free-standing double-sided wooden panel, 200 x 150 x 30 cm

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