M=Agua #23 1999

Editor: This is Douglas Abdell's *M=Agua #23*, created in 1999. It’s an assemblage and carving primarily of wood. I’m really struck by the contrast between the rough, weathered texture of the materials and the precise geometry of the carved square within the stone. How do you interpret this work? Curator: I see this piece as a powerful commentary on the relationship between nature and civilization, and Abdell's own negotiation of identity. The raw, unyielding materials speak to the earth, while the carved geometric shape represents imposed order and control, right? In Abdell's work, what do you see regarding his own sense of displacement? Editor: Well, I hadn't really thought about it that way... Displacement? Is that related to him being Lebanese-American? Curator: Precisely. Consider how the imposing stone sits uneasily atop the wooden support. It hints at themes of instability, doesn’t it? How the artist navigates these dual identities. Are you picking up on that, also? The “M=Agua” title, suggesting water, could also represent fluidity, change, and the constant movement inherent in the immigrant experience. Editor: That's a very different reading than my initial reaction, seeing it more as just a formal exercise in contrasting textures. It's incredible how much context can shape your interpretation. Curator: Exactly! This interplay is critical. Thinking about Abdell through postcolonial and diasporic lenses reveals layers of meaning absent from purely formal observations. Considering historical and personal contexts expands our understanding of this sculpture as an expression of cultural negotiation. What resonates with you most now? Editor: Now I’m thinking about how art can hold multiple truths. My formal reading isn’t invalidated, but it’s so much richer now. Curator: Absolutely! It’s about broadening the dialogue and thinking critically about these complex perspectives.