Untitled 

Curator: Before us we have an "Untitled" painting by Jean Degottex, achieved through the application of acrylic paint. Editor: It feels raw, immediate. The monochromatic palette and the repeated vertical strokes create a strong sense of rhythm. It’s both calming and a little unsettling. Curator: Absolutely, and the texture is really interesting. Degottex’s work here reflects a deliberate emphasis on the process of applying paint and his technique invites us to consider the surface quality and the very materiality of painting. The almost imperfect lines disrupt what could be read as symmetry or minimalist style. Editor: The parallel lines and that delicate latticework beneath evoke the woven reeds, or the slatted blinds of traditional screens. Perhaps it’s drawing on a cultural memory of the boundary between inner and outer worlds. Curator: That is very interesting when you put it this way; this may be intentional on the author's side since we could trace connections between Degottex and ancient Zen calligraphy and even the Gutai movement. So, this combination can create the cultural and spritual meaning behind it. I’m thinking about his approach to mark-making. Editor: I’m also fascinated by the artist's use of seemingly simple forms to trigger complex associations, hinting at the boundaries between conscious control and intuitive expression. What did Degottex try to express here? Curator: That's a compelling way to look at it! It pushes against that clean perfection, making us consider the labor and the choices in the artwork. Thank you. Editor: And thank you! This painting offers more than it initially seems. There’s a whole universe of symbolic meaning implied by its appearance.