Waves 1918

Editor: We’re looking at M.C. Escher’s "Waves," a linocut print from 1918. It feels like a stylized depiction of the sea, almost ornamental with its repetition and clean lines. What do you see in this piece? Curator: Beyond the obvious beauty of the waves, I see Escher grappling with a modernist tension: the lure of the decorative versus the socio-political realities of his time. Consider that 1918 marked the end of WWI. The waves, rendered with such precision and perhaps even a hint of Asian art influence, could represent the ceaseless, sometimes overwhelming, forces of nature mirrored in human conflict. Editor: I never thought about the war context. The geometric repetition now seems less ornamental and more… relentless. Curator: Exactly. Think about how water has historically been used as a metaphor. In some contexts, it’s about cleansing and renewal, but it can also be about drowning, being lost, or overwhelmed. Considering the socio-political currents of that period, do you see other potential meanings behind the waves? Editor: Maybe a sense of uncertainty? The future after the war was unknown. The waves are constantly moving, never still. They're going somewhere but where? Curator: Precisely. And what about the linocut medium itself? It’s a democratic medium, more accessible than painting. Could this accessibility be read as a subtle comment on who gets to create and consume art in a rapidly changing world? Editor: That’s fascinating, I wouldn't have considered the medium in that way. It definitely adds another layer to the work. Curator: Indeed. By examining the cultural and historical context, we gain deeper insight to its lasting message. Editor: I'll definitely be looking at Escher differently now. There's so much more beneath the surface than I realized.