NOTE:
Already in 1962, the professional artist JABRO wasglobally the first artist, who invented (within the creation of her sculptures (*1)) theperception "CROSSED MOUTH = MOTHER EARTH", ©, and “Mother Earth’s Crossed Mouth”, ©.
It is a plain symbol of one of eleven novelties and inventions created by JABRO for thefine arts, as being a pair of different forms of physical and spiritual oppositeness.

This contrariness of two equal but opposite halves creating wholeness of “TWO IN ONE”, ©, is called by JABRO "CONTRAST-PAIR", ©.

In the consequence, the conception of "MOTHER EARTH" and all the within connected sorts of mundane and spiritual "CONTRAST-PAIRS" is the basic of JABRO’S artistic lifework.

(*1) Among others, those discoveries can be made @ www.JABROART.com, navigation bar’s section "JABRO’S Sculptures", 1962, main page’s second row, first two sculptures from left hand side to right hand side, created in 1962, ©.

In addition,those symbols of JABRO’S "MOTHER EARTH" are also to find within the artist’s other sculptures, figured on the website’s thumbnail (main) page, such as:

1964, third row, fourth, fifth, sixth and seventh sculptures from left hand side to right hand side, ©

1965/66, 1966, fourth row, first, second and third sculpture from left to right, as well the combination sculptures of metal and liquid wood, described by JABRO as "Series of Three", created in 1964 & 1979, ©

1968, fifth row, first, fifth and sixth sculpture from left to right hand side, ©.

The oppositeness of her “Graphic-painting” in form of the artist’s self-portrait (1967) was also confirmed in later years by the science of chromatics (theory of colours) regarding the spiritual thematically and optically two dissimilar colours, such as females’ more preferred intellectual "Cold Blue" (*2) and male’s physical (testosterone-driven) favourite warm “Signal-Red” (*3).

(*2 See JABRO’S symbol of spirituality in form of the large, horizontally expressed blue mouth on third (*4) part of the artist’s “Graphicpainting”) ©, (*4 The topic of a THIRD part in this self-portrait points out to the Christian sacred number (figure) of THREE)

(*3 See JABRO’S symbols of “Mother Earth” in form of the two red, but contrary mouths, such as the facial horizontally in-taking mouth on the first plate of the self-portrait, as well the vertically out-going, giving mouth, on the second plate of this most interesting and worldwide unique “Graphicpainting”. ©.)

This early JABRO ‘Self-Portrait” from 1967 is (in connection to her sculptures from 1962) one of the main-keys for understanding the psychology and psycho-analysis regarding her multilayered and unique masterworks based on the multifaceted, subconscious mind.

The thematic and artistic sublimation of this strange and uneasy, somehow frightening self-portrait (“with the unprotected belly-side turned onto the top”) shows the openly laid and thus most vulnerable artist, as being the living victim of a corps’ dissecting autopsy.

Her parrying arms and hands created in cold-blue wound formations of ravishment (captivation), as well the cold-blue face, repellently frozen to an emotionless, angst-hiding mask, are just equal in their unapproachable expression.

Contrary to this spiritually cold and repelling BLUE, expressed here as symbol of hidden angst in mind and soul, is the physically inviting warm RED as the other half symbol of “The Crossed Mouth”, ©, acting in this early self-portrait (1967) as JABRO’S multifaceted topic of “Two Contrast-Pairs In One”, © and also to the same time as “Mother Earth”, ©.

The message is clear:

Each misogynistic and war-mongering society is digging its own deep grave by oppressing women’s many gifts and talents mainly downgraded to men’s own and anti-social desires, such as the egocentric self-gratification in any respect.

In other words, the downgrading and disregarding of women as equal partners of men means the destroying of “MOTHER EARTH” as men’s very own and very solely SOURCE OF LIFE and therewith the FUTURE of the societies and nations they are born in! 

No doubt, history has impressively shown that misogynistic and war-mongering (men-) societies never have survived the times in any respect.

In fact, each time men have disregarded the iron law of equality of the essential and indispensable wholeness of JABRO’S, so called, “Contrast-Pairs”, ©, they provably have been on the pathological and deadly drive-back into the regression of human history’s early and dark ages. This has happened up to the point of their original independent societies’ and self-developed cultures’ totally destruction!

That means in the case of JABRO’S self-portrait in her early twenties: the controversy of “warm signal red” colour (physical sex-drive only) and “cold blue” colour (intellectual consciousness) can be seen as a physically and spiritually “Contrast-Pair”, especially in their crossed position of one vertically red and one horizontally blue mouth. ©

IN REWORD:

In this early self-portrait from 1967, JABRO shows three of her eleven inventions and novelties for the fine arts, in regard of her multifaceted “Contrast-Pairs”, ©, as well her “Graphicpaintings”, ©, and her preferred main-symbol regarding the multilayered topic of the symbol “Crossed Mouth”, ©, invented by the artist already in 1962 and expressed through her (stone-) sculptures of organic formations.

From the analytical point of view, especially interesting here is the cross-position of two "live-giving" and in the consequence "live-taking" mouths often repeated in JABRO’S masterworks.

Interestingly enough, in a later self-portrait from 1972 (*6) JABRO has reduced her two parrying hands from the self-portrait from 1967 to one, the right hand only. In fact, the artist’s left hand is half closed to a shell-like bowl, expressing contrariness to the other (right) hand through protection and preservation.

(*6) To see @ www.JABROART.com

Navigation bar’s section “JABRO’S Paintings”, thumbnail (main-) page third row fifth “Graphicpainting” from left hand side to right hand side.)  

Additionally, the other, oppositional protecting and preserving hand of that self-portrait demonstrates a now more positive emotional and intellectual progress of the artist’s world outlook.                                                                  (*6) Titled “Self-Portrait In Expecting Birth Of “BUBI”, February 1972.)

So far, JABRO’S self-portraits (1967 & 1972) also personify the artist’s understanding of her most senseful purpose on this planet, seen in many ways. 

Simplified, this happens in form of her sublimated artistic creations and her responsible motherhood too, such as being an important part of the given multifold BIG PICTURE.