Pli x Pli III 

Editor: This is “Pli x Pli III” by Jean Degottex, created on paper. I find it quite subtle; it’s almost like a whisper with its delicate lines and monochrome palette. What do you see in this piece, beyond just the geometric division? Curator: I see a powerful statement about constraint and freedom, deeply embedded in its historical context. Degottex was working in a post-war era grappling with existential questions. The monochrome, the rigid lines...it speaks to a world trying to rebuild, but also pushing against established norms. What do you make of the fact that the lines aren’t perfect, aren’t uniformly spaced? Editor: I guess that imperfections suggest an individual’s touch and intention. That pushes against industrial standardization and maybe something about individuality resisting systems? Curator: Precisely! Think about the cultural discourse at the time, the rise of existentialism, and feminist theory critiquing societal structures. These imperfect lines can be interpreted as a quiet act of rebellion against the perceived order. It's a dialogue between the artist's hand and the constraints they impose upon themselves. It’s about control, but it's also a radical opening, or fold-- “pli,” to evoke Deleuze. The canvas confronts silence to make room for another mode of existence. Editor: That's really fascinating. I hadn't considered the element of social critique. This really makes me think about what appears to be order can be undone. Curator: Exactly. Art often operates in this realm – challenging our preconceived notions and revealing hidden dimensions. It prompts us to engage more thoughtfully, and historically, with the issues of our time. Editor: I’ll never look at lines the same way again! Thank you for sharing that view.