Untitled 

Curator: Here we have an "Untitled" oil painting by Georg Pauli. Immediately, the brushstrokes jump out—energetic, almost vibrating, and lending a sense of restless movement to the composition. Editor: My first impression? Unease. It's raw. Those aggressive strokes, you’re right, combined with the murky palette… it feels like the weight of intimacy, but not necessarily the comforting kind. Curator: Intimacy’s many layers, perhaps? It reminds me of gazing at a half-forgotten dream – hazy and potent. The figures, seemingly caught in a moment of embrace, convey both tenderness and a subtle tension. Editor: Right, but I keep coming back to the process, to the paint itself. Look at how economically Pauli uses the materials—those slabs of color barely resolve into recognizable forms, yet they carry the weight of expression. It's about pushing the limitations of oil paint as a commodity, I think. He takes something inherently reproducible and stamps it with intensely personal labor. Curator: Absolutely. I think that tension between abstraction and figuration is at the heart of the work's emotional power. Do you feel that tension as well? We are peering at the raw bones of feeling. Editor: I feel the cost, yes. The cost of revealing something. The textured surface becomes like a record of decisions, layers of revisions both physical and maybe, you know, psychic? The artist is in relation to both materials and what we call "inner" materials—desire, emotion, lived memory. Curator: And for me it speaks to the messy, complicated, and utterly human experiences of connection and disconnection, captured in these tactile layers of paint. I keep getting pulled into the background, those suggestive daubs creating formless presences and absences, adding a hint of drama, almost like eavesdroppers on a quiet and stolen moment. Editor: It makes you think about where Georg Pauli's relationship lies to painting itself as a medium with certain properties – and the same may go for how the artwork deals with figure representation and other cultural and art concepts. I am interested in what sort of labor practices may also have been involved. Curator: It gives me such strange solace. Thank you. Editor: My pleasure. Good look.