Brief aan Jan Veth Possibly 1922 - 1926

Curator: What initially strikes me is the artist's choice to present this missive, "Brief aan Jan Veth," dating from around 1922-1926, not as a formally presented piece but as an intimate, handwritten letter. This choice elevates the process of inscription, imbuing the means of communication itself with artistic merit. It is presented not for direct dissemination, but indirect display. Editor: It does feel very personal. I wonder who Jan Veth was to Jean Pierre Moquette? The flowing ink on paper creates a sense of immediacy, as if we are reading Moquette's thoughts directly from their mind. What do you see in this piece, particularly beyond its surface appearance? Curator: Precisely. Let's consider the materials themselves. The readily available paper and ink—these were the tools of daily communication, readily accessible, affordable. This immediately democratizes the art-making process. The value, therefore, shifts from inherent material worth to the labor and thought invested. Note, too, the lack of pretense in the handwriting. Does this not challenge the traditional hierarchies of fine art, which might favor polished calligraphy or printed type? Editor: That's interesting. It blurs the line between a functional letter and a work of art. The imperfections of the handwriting highlight the human element. It does make me wonder if Moquette considered this to be “art” when he made it. Curator: Perhaps not in the conventional sense of a gallery-destined masterpiece. But doesn't the very act of preserving and displaying it here invite us to reconsider our definitions? This artwork reminds us that art can reside in the everyday, in the skilled crafting and thoughtfulness behind the most common forms of communication. The conditions of the artworks production have a big impact on its reception. Editor: I hadn't thought about it that way. I was so focused on the content, on wanting to decipher it as this sort of found poetic fragment that I didn’t consider Moquette's possible feelings about labor and materials when making it. Curator: Indeed. By exploring its making, we see how Moquette turns ordinary materials into an evocative medium for personal expression.