Chauves Souris (interior) 1967

Editor: Graham Sutherland's "Chauves Souris (interior)," an etching from 1967. It’s quite… theatrical. The dark backdrop really makes the figures pop, and there’s a tension in the details. How do you interpret this work? Curator: Looking at the material process first, the intaglio printmaking lends itself well to Sutherland's themes. Intaglio involves incising an image into a metal plate, often copper. Do you think that the resulting fine lines create texture suggesting density, darkness, the heavy atmosphere of the subject matter? Editor: I see what you mean! It definitely adds to the darkness, makes it almost velvety. The choice of materials feels crucial to conveying the mood. Curator: Exactly. Then, consider how that labor-intensive process relates to Sutherland's larger project. He was interested in forms from the natural world, yet frequently imbued them with a surrealist sensibility, hinting at vulnerability. How does this interest in natural form combine with a commentary on labour? Perhaps as a comment on society and our relation to nature? Editor: I see what you are getting at. There is an interesting push and pull, almost as though the image has multiple intentions that pull against each other in interesting ways. Curator: The subject matter speaks to a time when, though mass production was booming, certain traditions persisted. Here, this intaglio feels both old and new, manufactured but crafted, precious, and perhaps…common. It feels as if the making process adds another layer of interest to what he’s depicting. Does that thought influence how you now view the piece? Editor: Absolutely. Thinking about the process has completely changed my initial impression. The layering of material, production, and symbolism is a really fascinating point. Curator: Glad to hear it! Now you’re equipped to perceive and analyse similar dynamics in other works.