Fire 

Curator: Let’s discuss "Fire," an intriguing metal sculpture by David Annesley. The work stands outdoors against the backdrop of a building and a young tree. Editor: My first thought? Dynamic instability. The geometric shapes appear caught in a perpetual, almost violent, upward motion. Curator: Absolutely. The placement is also very important. When sited in this way in a semi-public square it allows the sculpture to directly engage with passersby, shaping their experience of this space, giving them something unexpected to engage with as they come and go. Editor: The angularity is striking. These fragmented planes of painted metal form an upward thrust—like an explosion frozen in time. I find that the cool color tempers what could be an overwhelming feeling of aggression. Curator: Well, there is a contrast inherent in public abstract expressionism that it's worthwhile to engage with. It gives a kind of institutional or state legitimacy to the transgressive qualities of abstract art. Editor: True. But it makes one consider form and structure in isolation from that sociopolitical context, no? Consider how the negative space interacts with the shapes. It creates a fluctuating rhythm, almost a dance of solids and voids. It keeps your eye moving. Curator: The dialogue between public acceptance and artistic freedom is definitely part of its history. When artwork of this type is incorporated into these environments, there is an important political impact worth noting. Editor: In this context, with those considerations, I wonder if Annesley considered the dialogue between aggression and approachability and how that is reflected by line. The cool steel both invites and repels at once. Curator: This piece embodies public engagement with abstract forms. And the institutional framework which allowed its commission and installation plays a crucial role in how we consider its value. Editor: Yes. But it's still ultimately the dynamism and formal qualities of the structure which give it life!