Spider Lily c. 1905 - 1917

Editor: So this is "Spider Lily," a woodblock print by Edna Boies Hopkins, dating from around 1905 to 1917. The swirling lines of the lily against that deep green are quite striking. How do you interpret this work? Curator: I see this piece as existing within a fascinating intersection of art, gender, and cultural exchange. Hopkins was part of a wave of female artists exploring woodblock printing, a technique deeply rooted in Japanese traditions. Given Hopkins’ focus on botanical themes, consider the socio-political dimensions. The floral world, especially within the domestic sphere, was often associated with women's creativity but sometimes dismissed as simply decorative, which also relates to Japanese aesthetics often thought as such. How can we re-evaluate that association? Editor: That's a very interesting approach. I hadn't thought about it that way, I suppose, what seems to be dismissed often conveys greater complexity if one stops and considers the position of the artist. Do you think the medium connects with the subject matter in some other way? Curator: Absolutely. The inherent labor and skill involved in woodblock printing complicate the perception of such works being solely ‘decorative.’ Think about the act of carving, layering, and printing. Hopkins transforms something seen as delicate into a form that is tactile. This intersects interestingly with Hopkins's personal narrative, an American woman engaging in an international style largely practiced by men at the time. Doesn't this challenge us to reconsider established artistic hierarchies? Editor: It definitely gives a different layer to the piece. It is great to hear it described that way; so much more than just a simple pretty flower, I'll have to remember this connection. Curator: Precisely. By exploring her artistic practices, we expand and challenge gendered preconceptions about women’s art and contributions to modernism. Editor: Thanks! That really changed the way I look at it!