Division 1956

Curator: Here we have M.C. Escher's "Division," created in 1956. Escher, of course, is renowned for his exploration of mathematical concepts in art, and in this case he uses the print medium. Editor: My first thought? Mesmerizing, but a bit anxious-making too! It's this intricate, radiating pattern of black and white figures...are those birds? I think they are. Curator: Precisely, those are bird figures—notice how they tessellate. Escher was fascinated with the idea of tiling a plane, filling space with repeating shapes that fit together perfectly. "Division," exemplifies this interest beautifully; the repetition really draws you in. Editor: Absolutely! But it's not *perfect* perfect, is it? Like, there’s a slight distortion as you move from the center outward. The "birds" get a bit chunkier, a bit less refined. That subtle imperfection, though, I think, gives it life. Keeps it from being sterile. Curator: Yes, it also shows the means of its creation. The artist's labor becomes visible. There's an interplay between the mechanical reproduction of the print and the inevitable, yet deliberate, variation introduced. Editor: The dance of control and…escape from control. It’s strangely comforting. You know, the world seems increasingly fractured these days, and yet something about that black and white harmony creates…hope, maybe? Or at least a temporary visual truce! Curator: Interesting. For me, it's a demonstration that complex systems, be they social, biological, or aesthetic, always stem from individual units working in relation to one another. What appears complex is actually very simple. And simple is very hard! Editor: Hmm, good point! Simplicity isn’t the easy answer, it requires work, doesn't it? Perhaps "Division" reflects that inherent paradox of life…the chaotic simplicity or simple chaos...whatever works. Anyway, it's good stuff! Curator: Agreed, it presents the viewers not only visual enjoyment, but thought-provoking reflection, too!