A Position-A 1972

Editor: So, this is Matsutani’s "A Position-A" from 1972. It’s an acrylic painting, pretty striking with its geometric shapes, a half-circle perched atop a triangle. It feels… surprisingly calm for such bold shapes and colors. The balance is what grabs me. What do you see in it? Curator: Balance, definitely. But I also feel a quiet tension. The cool detachment of the hard edges almost vibrates against the sensuality of the colors. That fleshy peach, almost obscenely ripe above that strict green, divided by the sharp red line. What's that about, do you think? The way those shapes almost… touch but don't *quite* connect. Editor: It’s like they’re in conversation, or maybe on the verge of collision. The title, "A Position-A," adds another layer, doesn’t it? It's so clinical. Curator: Exactly! It's as though he's dissecting an emotional landscape. A position... but what kind of position? Love? Conflict? Maybe the rigid geometry is a way of containing something messy, like trying to quantify feelings. Tell me, does it remind you of anything? Like maybe a… landscape? Editor: You know, I hadn't thought of that, but yeah, it sort of does. The peach becomes sky, the green a field, the red, maybe a setting sun or… a dividing line? Curator: See! Your intuition gets it! Matsutani was part of the Gutai group, but this piece feels almost a reaction *against* Gutai's messy physicality. There’s a deliberate control here, a searching for harmony, I wonder if it says anything of the 1970s... A kind of... search for balance maybe... or for equilibrium... Editor: It's fascinating how a seemingly simple composition can hold so much complexity. I came in thinking ‘geometric abstraction’, but I'm leaving thinking about… human relationships. Curator: Yes, isn’t it wonderful how a splash of paint, a simple color juxtaposition, becomes an insight? Now, how do *you* feel about Peach...?