Decoy c. 1937

Editor: This is Chris Makrenos's "Decoy," from around 1937, done in watercolor and charcoal. It’s really striking in its simplicity, like a child's rendering but with real skill. It looks both rustic and refined. What do you see in this piece? Curator: What jumps out is the dual nature of the decoy itself. On the surface, it's a tool of deception, a lure. But going deeper, it symbolizes a yearning for connection, for bridging the gap between human and nature, predator and prey. Think about the psychological weight of creating a false promise. Editor: That's interesting. I hadn't considered the darker side. I was mostly thinking about the craft of it, the almost nostalgic feel. Curator: And that nostalgia, isn't that also a form of cultural memory? It evokes a specific time and place, perhaps a simpler life lived closer to nature. Notice how the artist renders it almost sculptural with the charcoal. What feeling does that give you? Editor: It makes it feel more substantial, more real, like an object you could hold. It’s not just a flat image. Curator: Exactly! The decoy becomes an object imbued with intention and symbolism, reflecting not only the hunter’s desire but also a broader relationship with the natural world. A false idol, perhaps, or a longing for a genuine connection that may ultimately be unobtainable? Editor: So it’s more than just a duck? It is about cultural meaning attached to nature. Thank you, I will definitely look at folk art differently. Curator: Yes, and I found myself considering how our pursuit of the 'authentic' is so often mediated by illusions we ourselves create.