[no title] 1989

Curator: This untitled print by Terry Winters presents an intriguing juxtaposition of forms. The etching itself feels almost ghostly, doesn't it? Editor: It does! The sepia tones and visible plate texture make me think of old scientific diagrams, or even a daguerreotype. What exactly are we looking at material-wise? Curator: Well, we have two separate image areas. Above, what appears to be a looped, almost cellular form traced with delicate dots, and below, an X-ray-like image of a hip bone. The Tate collection doesn't provide further details on the materials used. Editor: I'm interested in that contrast—the organic form above, juxtaposed with the clinical image of the bone. It speaks to how we dissect and understand the body. Curator: Exactly. Winters often explored the intersection of science and art, particularly during the late 20th century's growing fascination with genetic mapping and the micro-world. Editor: It makes you consider the physical labor involved in creating the plate, the precise hand needed to produce the dots and fine lines. It is not photomechanical reproduction, it is manual and artistic labor. Curator: Yes, and it's a fascinating reflection on the human condition. Editor: Indeed, a quiet, yet thought-provoking piece about our very structure.