Composition I - Plant Forms 1934

Curator: Let's turn our attention to "Composition I - Plant Forms," a woodcut print crafted by Werner Drewes in 1934. Editor: Oof, it’s intense! Like looking into a shattered kaleidoscope full of thorny secrets. The high contrast is almost violent. Curator: Drewes, aligned with German Expressionism, created this abstract piece amidst rising political tensions. Considering this context, we can view these abstracted “plant forms” as metaphors. Perhaps symbolizing resilience or the struggle to survive in a fragmented world. Editor: See, I love that! It definitely doesn't strike me as a garden party. I feel the sharp angles, the confined space. It reminds me of anxiety, almost a physical claustrophobia, you know? All those hard, dark lines fighting for space. Curator: It’s precisely this tension that defines Expressionism. Drewes was deeply influenced by the Bauhaus school; his focus on geometric forms hints at a utopian desire for order while simultaneously depicting discord. There are socio-political layers embedded within, reflective of the time. Editor: Right! The Bauhaus! Like trying to force nature into perfect little boxes, which never really works, does it? It always finds a way to burst through. I think I see that here, that struggle… or maybe I just had too much coffee. Curator: No, I believe you are touching upon a key point! It's about interpreting resistance and commentary in an abstract manner. Think about artists whose abstraction gave them an oblique form of protest that could evade censorship. Editor: Makes total sense! It’s powerful how art can say so much without spelling things out. This little piece screams even in silence. I dig it! Curator: Absolutely. It encourages us to explore the intersections of art, history, and politics—and invites consideration for diverse interpretations across time and different viewers. Editor: Yeah, now when I look at it I'm starting to see a lot more beyond the dark and light shapes... really thought-provoking piece, actually.