Young Moroccan 1932

Editor: Zinaida Serebriakova's "Young Moroccan," created in 1932 using pastel, offers a compelling glimpse into another culture. I am fascinated by the materiality of the pastel and how she used it to render the textures of clothing and skin. How would you interpret this work through a materialist lens? Curator: For me, it begins with the colonial context in which this work was made. Consider the availability of materials: where did Serebriakova acquire her pastels? Who manufactured them? The act of depicting a "Young Moroccan" inherently places the subject within a power dynamic shaped by trade and cultural exchange, wouldn't you agree? Editor: That’s interesting, I hadn’t considered that. So, it's not just about the final product but about the labor and the system that made it possible. Do you think the choice of pastel itself contributes to that? Curator: Absolutely. Pastel is often seen as a less ‘serious’ medium than oil paint. Serebriakova's choice might reflect a particular perception of Morocco at the time—a lighter, perhaps less industrialized place that matched with the ease and portability of the medium, hinting at ideas of Orientalism. Does that distinction between 'high art' and perceived lesser forms resonate with you? Editor: Yes, it really changes how I see the piece. So, it's not simply a portrait but a representation shaped by the socio-economic conditions and even the very materials used to create it. Curator: Exactly. It encourages us to think about the power dynamics embedded in the artistic process and the circulation of these images back in Europe at the time. We have to always remember that every choice – from the artist's travels to what tool they used to make art– tells a story beyond the surface. Editor: This perspective makes me think a lot deeper about how art objects are embedded in wider economic and political systems. Curator: Indeed! And understanding that expands our engagement with the artwork in valuable ways.