Nocturne II 1979

Curator: This is "Nocturne II", a 1979 print made with graphite by Evan Summer. It's quite striking, isn't it? A tumble of forms looms against a darkened field. Editor: It does evoke a sense of being caught in something's path. I'm seeing how these graphite textures intersect with sharp angles and subtle tonalities that shift within a rather confined range. It’s so geometric, angular and fragmented – like an abstract still life awaiting assembly. Curator: Considering Summer’s focus on printmaking, this piece stands as a testament to how the artist approached the graphic media through complex production processes. Look at the range of techniques in mark-making on display, and imagine how Summer employed the properties of graphite in a repetitive transfer technique across an array of materials. We can investigate the relationship between modernism and manual practices as evidenced here. Editor: The artist presents the modernist idea within a flattened plane. A clear push-pull can be noted, as one attempts to navigate within its depths and is subtly rejected by the plane's edges. A real tension rises when understanding that space and dimension are simultaneously denied and granted. Curator: And "nocturne" invites us to contemplate the role of atmosphere. Instead of depicting literal nocturnal landscapes, the abstraction leans towards eliciting states of tension and drama. The stark contrast furthers an emotional response from the viewer who stands opposite the abyss of abstraction. Editor: I suppose if one were to deconstruct the imagery down to its fundamental forms, we arrive at lines, rectangles, pyramids, and cylinders in interaction. The abstraction invites interpretations while also closing off narratives to construct tension, and further the mystery beyond clarity. Curator: Yes, and this evokes the cultural and economic climate of the late '70s. Manufacturing booms, architectural ambition. Notice how materials, here graphite and paper, reflect both an aesthetic commitment and access for wider publics beyond traditionally prized artworks of this time. It democratizes access and value for a larger portion of the art world’s economy. Editor: Seeing the stark simplicity makes me see a dance of light and shadow where everything relies on a structural base, ready to find new meaning. This has been wonderful! Curator: Yes, considering process makes "Nocturne II" far from mute; a material exploration of value, making and meaning. Thank you.