Petroglyphs 1935 - 1942

Editor: This drawing is titled "Petroglyphs," and it was created between 1935 and 1942 by Lala Eve Rivol. The medium appears to be graphite on paper. I am intrigued by the layering of the patterns and shapes. What do you make of this piece? Curator: I find Rivol's "Petroglyphs" particularly compelling from a formalist perspective. Notice the artist's deliberate arrangement of geometric forms, the interplay of red and gray hues, and the textured surface created by the graphite. There's a tension created by the balance, yet almost chaotic feel of the drawing's layout. How does the relationship between the background color and these abstracted petroglyphs impact your understanding of the work? Editor: The beige background almost makes it look like the petroglyphs are floating off of a cave wall or something! But if that’s the intention, then I'm curious why Rivol wouldn't create the same kind of figures on the background? Or conversely, treat the background like one of the shapes and really push that 2-dimensional flattening of space... Curator: An astute observation. Consider that the artist might not be aiming for a literal depiction, but rather an exploration of form and pattern. Note the deliberate inconsistencies in linework and density across the composition, creating visual hierarchy among the figures and background and generating visual interest through these structural relationships. Do you find this application consistent with indigenous artwork, and to what degree does this speak to your understanding of the relationship between representation and abstraction in her work? Editor: That’s an excellent point. Thank you for helping me view "Petroglyphs" with fresh eyes! I didn't initially consider how abstraction, line-making, and color contribute to such visual intrigue in this context. Curator: Indeed. Appreciating the formal aspects can truly deepen one's engagement with art, especially when these forms act as conceptual carriers.