Cry, Sally, Cry 2014

Editor: We are looking at Zoe Hawk’s "Cry, Sally, Cry" from 2014. It's a painting that depicts a group of young girls gathered near a brick wall, with one girl crouched down, seemingly upset. I find the scene unsettlingly static. What do you see in this piece, considering the materiality and social context of the work? Curator: Hawk’s choice of materials is interesting; a traditional painting with seemingly naive figuration depicting what appears to be a scene of social cruelty. Considering its making, what about this configuration of figures speaks to the way girls are taught to perform, consume and negotiate their identities within social spaces? The handmade quality contradicts the sharp commentary of girlhood itself; doesn’t it? Editor: That’s an interesting point about the handmade quality conflicting with the commentary. Are you suggesting the medium downplays the potentially darker interpretation? Curator: Not necessarily downplays, but complicates. Think about the labor involved. The slow, deliberate process of painting each brick, each fold in their clothes. What sort of message is being sent through those details in contrast to say, the use of quick and perhaps disposable techniques found in children's book illustration? What tensions are at play in her depiction of childhood? The making and consumption of girlhood itself, maybe? Editor: So, by carefully crafting this scene, Hawk draws attention to the social constructs at play within this isolated environment. The artwork's physicality adds weight to this story of material consumption and performance. Thank you! Curator: Precisely! Reflecting on the artist's approach can open up these new layers of dialogue on a universal story.