Cleo 2021

Editor: So, this is Michael Cheval's "Cleo" from 2021, painted with acrylics on canvas. There’s a real dreamlike quality to it, almost theatrical with its stage-like lighting and surreal imagery. What catches your eye, from your perspective? Curator: Well, immediately I’m drawn to the materiality of it. Look at the way the acrylic paint is applied – those textural layers. It’s not just about depicting a scene, but also about the *making* of that scene. I’m wondering about Cheval’s process. Was this built up intuitively, layer by layer, or meticulously planned? It speaks to labor, to the sheer act of creation, you know? And the way the artist blurs lines between classical sculpture and fantasy elements points towards a material engagement with history, where the present consumes and reimagines the past. Editor: That's interesting. I was more focused on the image of the woman and the pocket watch. Does the pocket watch also highlight materiality? Curator: Absolutely! Consider the social context of that object. A pocket watch symbolizes not only time, but also a specific type of labor, of regulated production. The fantasy art is, at a material level, engaging with a socio-economic reality. And that reference to portraiture makes me think about class and representation too. It is important to always ask: Who is it made for and with what resources? Editor: I never thought about it that way, in terms of its creation being part of the message itself. I guess I was too caught up in trying to decipher the symbols. Curator: The materials themselves are communicating meaning, not just illustrating it. So next time, ask yourself what kind of material choices did the artist make. Editor: Okay, I definitely have a new lens to look through now! Thank you! Curator: My pleasure, happy to provide insight on the material layers behind that looking glass!