Outhouses c. 1940

Editor: So here we have Charles Mahoney's "Outhouses," housed at the Tate. The dimensions are relatively small. I am struck by the composition, how it balances the mundane with an almost stark beauty. What do you see in the way Mahoney uses form and structure in this piece? Curator: The formal elements are quite compelling. Note the layering of planes, how Mahoney uses overlapping structures, creating a sense of depth, but also compressing the space. The muted palette emphasizes the geometry of the outbuildings. Do you find the ladder disrupts this geometric harmony, or does it enhance it? Editor: It’s interesting that you ask that; I hadn't considered how integral the ladder is to the composition. It certainly seems to act as a bridge, connecting the foreground with the midground. I guess I had not seen it that way. Curator: Precisely. The verticality of the ladder contrasts sharply with the horizontal emphasis of the sheds, creating a dynamic tension. It also guides the eye upwards, preventing the composition from becoming too static. Editor: That’s a great point. Now I see how the artist uses the ladder to lead our eyes across the painting. Thanks!