Spiral Motif in White, Black and Indigo 1951

Editor: This is Victor Pasmore’s “Spiral Motif in White, Black and Indigo,” a mixed media piece from 1951. I’m really drawn to the repetitive nature of the spiral and line work. It feels almost hypnotic. What do you see in this piece? Curator: I see a convergence of natural forms and primordial symbols. The spiral, present across cultures from Neolithic rock carvings to Celtic knotwork, often represents the cycle of life, death, and rebirth. It evokes growth, expansion, and the journey of the soul. Does the limited palette inform your impression of this artwork? Editor: Absolutely! The indigo and black against the white background give it a sense of starkness, like an ancient blueprint. But there's also something calming in the repetition of those colours. Do you think Pasmore intended a spiritual connection with this piece? Curator: I think so. After the Second World War, many artists explored abstraction to move beyond the representational, searching for universal symbols to express deeper truths. Pasmore's spirals may reflect a desire to reconnect with something fundamental, perhaps a search for meaning in a chaotic world. Consider also how "primitive" forms in the art of this period signified authenticity, a rejection of Western convention. Do you see other symbols or allusions at play? Editor: I hadn't considered the primitive aspect, but now that you mention it, there’s almost a topographic quality to the texture... like looking at the earth from above. I hadn’t quite appreciated how those color choices reinforce it. Curator: Exactly! And consider the indigo— historically a precious dye, linking this abstract expression with symbolic weight. It shows cultural memory, I think. We could see something new each time we experience this motif. Editor: This has really made me think differently about abstraction! It's so interesting how even simple forms can be loaded with such complex ideas and histories. Curator: Indeed. And recognizing those embedded layers enriches our own personal interaction with the work.