Far Behind 

Editor: Here we have "Far Behind" by Logan Maxwell Hagege, created with acrylic paint. The piece features a figure on horseback and, right away, I notice this incredible smoothness in the application of the paint, and that feels so modern against a seemingly historical subject. What are your initial thoughts on this piece? Curator: Considering Hagege’s materials – acrylic paint, commercially produced – it's compelling to view this through a materialist lens. How does the use of a synthetic material like acrylic, mass-produced and readily available, speak to the portrayal of a subject associated with indigenous tradition? It encourages a dialogue about authenticity, cultural representation, and the artist's own position within the circuits of production and consumption. The smooth, almost industrial finish, which you mentioned, is far removed from the materiality of traditional Indigenous art-making processes, don’t you agree? Editor: That's a really interesting point, and it changes how I see it! I hadn't really considered that the sleekness of the acrylic finish contrasts with what I imagine traditional Indigenous art might look and feel like, maybe with more texture. Does this affect the overall impact? Curator: Absolutely. The medium fundamentally shapes the message. By employing acrylics, Hagege is participating in a very specific system of artistic creation—one deeply intertwined with consumer culture and industrial processes. Consider the implications of Hagege choosing acrylic paint instead of, say, earth pigments. That choice becomes a critical part of understanding the work. Editor: So, it is not just about who is depicted, but how it is depicted, down to the very material used. I see now how understanding the materials can offer so much more insight into the art and its relationship to culture and industry. Curator: Precisely. And it forces us to interrogate our own expectations about Indigenous art and the ways in which those expectations are shaped by broader social and economic forces.