Shaman With Spirit Self 1995

Editor: This acrylic painting is titled "Shaman With Spirit Self," created by Norval Morrisseau in 1995. I'm immediately struck by its bold lines and vibrant, almost psychedelic, color palette. The figures seem to overlap, creating a sense of depth despite the flatness of the picture plane. What elements of this painting do you find most compelling? Curator: Formally, the most interesting aspect is the dynamic interplay between line and color. Notice how the black lines define the forms, creating a powerful graphic quality, but it is the internal articulation of these shapes using intense color that generates dynamism. Consider, too, the tension established through figure-ground relationships, where positive and negative space are almost in constant flux. How might we decode this visually, perhaps through a semiotic framework? Editor: So, you are focusing on the relationship between the visual elements – the color, the line – rather than thinking about, say, the meaning behind the imagery? Curator: Meaning emerges from these structural relations. We see two faces, juxtaposed but distinct. Consider the significance of this doubling; a kind of mirroring might invite interpretations around duality, the conscious and unconscious, the spiritual and the corporeal. Morrisseau has cleverly composed the figures and employed vibrant colors and design motifs to make it stand out. The relationship that these colours have with each other is of note also. How are they designed to lead the eye and provide contrasts? Editor: That's fascinating. I was initially drawn to the pop art quality of the painting. What is important is how they are designed rather than where they take their references from. Curator: Precisely. This is because our focus in decoding the artwork is through visual examination; the structure and use of colour can unlock a piece just as effectively. I've gained insight by appreciating the formal relations here and hope you feel likewise. Editor: Absolutely. I can now look beyond just the surface appeal to appreciate the more deeply coded aspects of the work and Morrisseau’s use of vivid colors.