Untitled 

Editor: This "Untitled" drawing by George Bunker is crafted with ink and pen on paper, showcasing an abstract landscape. There's something immediate about the marks; they feel impulsive. What do you see in this piece, beyond the obvious landscape elements? Curator: Impulsive is a great word for it! For me, this piece vibrates with a raw energy, doesn't it? I think it’s the artist wrestling with form. Look at the density of lines in certain areas. Do they suggest shadow, or perhaps a tangled undergrowth, or is it merely the pure, unadulterated joy of mark-making taking over? It feels like Bunker is pushing the boundaries of representation. What do you make of the white space? Editor: It feels deliberate. Like breathing room within the chaos. Without it, I think the drawing would feel claustrophobic. So, you're saying the drawing isn't just about what *is* there, but also what's *not* there? Curator: Exactly! The negative space allows the eye to rest, to discern shapes and textures from what initially appears to be a jumble. It makes you participate more actively in the creation of the landscape. Makes you wonder, perhaps, what Bunker was seeing, or feeling, at that precise moment. It’s almost as if you're glimpsing into the artist's mind. I wonder what sort of landscape inspired this rapid, visceral reaction, and what it meant to him. Editor: That's fascinating. I never thought of negative space as an active element. Curator: It’s all about the push and pull, isn't it? The artist guides us, but it’s up to us to complete the journey. And, in that collaborative spirit, what does this "landscape of the mind," as I might cheekily call it, leave *you* with? Editor: I am taking away the energy of the hand creating the image and how the eye interacts with it! Thank you!