Pitas 

Editor: So this painting, “Pitas” by José Garnelo, seems to be rendered in oil paint, possibly en plein air. There's something elemental about it - the raw cliff, that imposing agave. What can you tell me about it? Curator: Consider the "plein air" designation. How does painting outdoors, directly engaging with the landscape and its light, change the artist’s relationship to their materials? What labor is involved in this engagement with the raw landscape, and the choices involved in bringing these elements onto canvas? Editor: That's interesting. So it's not just *what* is depicted, but *how* it's depicted that matters. The materiality of the paint, and the direct interaction with the landscape... Curator: Precisely. We see brushstrokes that convey a sense of immediacy, suggesting a rapid translation of the scene. Is it possible that Garnelo wanted to explore not simply a traditional landscape, but also how the landscape is constructed as an idea via the labor of representation and consumption? What kind of statement about both high art and traditional craft is being made by Garnelo with these material choices? Editor: I'm not sure I'd thought of that. Are you suggesting there’s an element of social commentary? Curator: I think the artist presents us the opportunity to analyze these issues through the ways in which these materials were employed in service of conveying an explicit and implicit vision. Think about what class or race are made visible or rendered invisible in paintings like "Pitas." The focus on these materials reveals that a seemingly innocent landscape involves social forces that go beyond its mere aesthetic. Editor: So by considering the materiality and the conditions of its making, we can uncover hidden social or cultural dynamics within a seemingly simple landscape. That's fascinating. Curator: Yes, by questioning the materials, their source and use, we can gain so much insight on how artists shape meaning, and, ultimately, engage in shaping cultural values themselves.