Cap 1935

Curator: Oh, what a beautiful object of artistry and utility we have before us: Mary Berner's 1935 coloured pencil drawing, titled simply, "Cap." Editor: The coloured pencils lend it a tender touch. It's clearly meant to be more than just a representation. I get a real sense of reverence, almost an ethereal quality in how she has depicted this artifact. Curator: It resonates deeply, doesn’t it? Berner's work focuses on folk art. We can see her eye for detail here in rendering an Ojibway beaded cap; she not only records it, but offers an almost haptic dimensionality to its textural complexities. Editor: Exactly. Notice the composition. The cap almost levitates on the page, yet it's grounded by the meticulous details around it. The outer edge with repetitive mark-making draws the eye inwards toward the cap's adornments. There is the visual rhythm and symmetry to be noted in it as well. Curator: Yes! The choice of color elevates what could have been a purely documentarian project. The weave is given such life, creating a feeling that you're actually seeing this very important cultural object in its full regal glory, not simply a muted copy of it. I mean it almost leaps from the paper at you, it does! Editor: It presents itself, to be sure. Berner clearly made artistic choices about emphasis, line, color to translate her observations into feelings—which for me lands as gentle and thoughtful, if that makes sense. It shows not only skill, but appreciation, you know? Curator: Very true! What a fascinating object that invites us to see history and cultural heritage not as just documents but as vital human creation! Editor: Precisely. The drawing leaves you pondering what it meant to Mary Berner, too. How powerful it is to have access to it, to be able to learn from and, dare I say it, connect to it? It's a privilege, indeed!