From Point 1976

Curator: Here we have Lee Ufan's "From Point," created in 1976. What do you make of it? Editor: Well, immediately I'm struck by a feeling of disciplined meditation, you know? The repetitive nature of those indigo squares, marching across this textile ground, like watching rain on a window, soothing and kind of hypnotizing. Curator: Precisely. Ufan, key in the *Mono-ha* movement, focuses on materials "as they are," engaging the viewer with simple gestures. He repeats this square, allowing a conversation between the marked and unmarked space. How do you read his use of materials? Editor: It's like he's gently coercing a new voice from an ordinary surface, that simple textile becomes a meditative scroll, each mark a tiny echo of some much bigger creative intention. This feels post-impressionistic and pattern-based. I'm drawn to the texture of the material, those minute shifts giving warmth. Do you read that same intention, of letting the materiality speak? Curator: Absolutely. He doesn’t aim to transform or hide the innate qualities. The slight irregularities of each point suggest an almost human touch, something very intuitive even. Editor: I’m fascinated by how those almost primitive digital forms dance, that is a complex layered pattern that draws me in. He balances that tension so carefully, between rigorous geometric and a playful, textural quality that you can sink into. Curator: He seeks a way of making art that is about openness. The marks are separated from the background material to allow us a relational space, a space to breathe with it. It's interesting how the repetitive shape and pattern makes the art be like a textile design too. Editor: You've made me think, there's this strange serenity that lingers after looking. It's like a silent challenge—could simplicity become its own statement. A visual haiku of the dot, that creates the idea of imprinted textile through its unique use.