Jay 2019

Editor: This is Eckart Hahn’s "Jay" from 2019, a strikingly realistic painting. I am fascinated by how meticulously the texture of the bird’s feathers is rendered. How do you read into this intense attention to detail? Curator: What I see here is an examination of the materials and the process itself, almost like a commentary on the labor involved in creating such hyperrealism. Think about what it means to dedicate oneself to rendering every single feather with paint. It pushes the boundaries of what we consider fine art and elevates the craftsmanship. Do you notice how this level of detailed craftsmanship also exists in creating something seemingly mundane as a simple rope? Editor: I do, and the contrast between the organic texture of the feathers and the manufactured uniformity of the rope is so intriguing. What could Hahn be suggesting? Curator: Perhaps he's pointing to a tension between the natural world and human-made objects. Or perhaps how we commodify both, placing them on display, like a hunter's trophy, while really just highlighting the skill involved in representing it. Are we admiring nature, or our ability to replicate it? What does this meticulous craftsmanship say about labor in a post-industrial world? The sheer amount of work in “Jay” seems to challenge ideas of quick, mass production, maybe suggesting a longing for handcrafted quality. Editor: I hadn’t thought about the implications on labor. Now I see the painting less as just a beautiful rendering and more as a statement on materiality, production, and the value we place on craft. Curator: Exactly, the beauty becomes secondary to the complex exploration of making. Considering the means by which the piece came to be deepens our understanding.