Gomelza 1965

Editor: We’re looking at Paul Feeley’s “Gomelza” from 1965, created with acrylic paint. It’s a really striking pattern of geometric shapes in red and periwinkle blue. What strikes me most is how… manufactured it feels. What can you tell me about this work? Curator: “Manufactured” is a key observation. Consider the acrylic paint – a relatively new, industrially produced material in 1965. Its smooth, even application, eliminating any trace of the artist's hand, reinforces this manufactured aesthetic. Where do you think Feeley was sourcing this acrylic paint? What labor was involved in its production? Editor: Good point! It's not like he was grinding pigments himself. The pop-art aesthetic also seems to be embracing mass production. The pattern feels almost like… wallpaper? Curator: Precisely. This challenges the traditional hierarchy elevating unique artworks over functional design. Is he criticizing mass-produced commodities, or embracing its accessibility? Think about the economic conditions during this period, the rise of consumerism. Do you see "Gomelza" as complicit in this system, or offering a critical perspective? Editor: Hmm, maybe a little of both? It’s visually pleasing, almost decorative, yet the repetition hints at the monotony of production. I never considered all these layers. Curator: Exactly. By focusing on the materials and their production context, we begin to unpack the complex relationship between art, labor, and consumer culture that Feeley's "Gomelza" subtly engages with. What further questions arise when considering it’s creation? Editor: I hadn’t considered how much the materials and method were themselves part of the message. I’ll definitely look at art with fresh eyes now.