Tablecloth VIІI 2011

Curator: Looking at Pavlo Makov's "Tablecloth VII", created in 2011, I'm immediately struck by its ghostly atmosphere. The mixed-media drawing on paper uses ink to create a complex, almost dreamlike image. What are your initial thoughts? Editor: It feels unsettling, almost like looking at an archaeological dig site. The muted palette and fragmented forms suggest layers of history, barely visible beneath a surface. Are those…forks? Curator: Indeed, there are depictions of forks, almost totemic in their arrangement. The title itself, "Tablecloth," hints at domesticity, perhaps everyday rituals, but the image resists easy interpretation. I am drawn to these peculiar signs of western culture throughout the canvas. Editor: It’s interesting how these familiar objects—the forks, the almost geometric grid—are rendered unfamiliar. The composition's chaotic order reminds me of maps of urban development overlaid onto something ancient, like an archaeological site indeed. I wonder, what socio-political context shaped Makov's art at this moment? Curator: Makov, working in Ukraine, has consistently explored themes of urbanism and societal transformation, using recurring symbols to depict historical and psychological landscapes. These forks, in my interpretation, could signify societal progress and collapse depending on where you look. It is reminiscent of the post-Soviet collapse that occurred in the area and Makov's history during the turmoil. Editor: So, these recurring images, these symbols become a form of cultural memory. It raises the question, who gets to construct these public images of history? And what are the ethical implications when representing collective experiences like historical turmoil? Curator: Absolutely. Makov's work often questions official narratives, instead offering poetic interpretations of history through fragmented forms. It challenges the viewer to confront their own understanding of these cultural signs and history itself. Editor: Looking at "Tablecloth VII" again, I can’t help but think of it as a visual metaphor for cultural identity—layered, fragmented, and constantly being renegotiated. Curator: It leaves us contemplating the ongoing dialogue between the past, present, and future, how societies choose to represent itself, and how individual symbols carry so much historical weight.