Centrifugal 1970

Curator: It has such a calm, almost serene aura. Editor: Agreed, there's a stillness despite what appears to be movement in the material. We’re standing before Fred Eversley's sculpture *Centrifugal*, crafted in 1970. It embodies key aspects of minimalism and also incorporates the color-field painting aesthetic. Note how this abstract artwork employs geometric shapes, especially its prominent curved form. Curator: The curve, I think, offers a visual echo of cyclical existence. Color radiates through the translucent resin, suggesting emotional cycles, and rebirth. There's a subtle vibration, a hint of continuous energy. I wonder, how does the artist infuse such life in it? Editor: Through technique, undoubtedly. The highly polished surface reflects and refracts light, drawing our eye. What you’re sensing is dynamism implied through meticulously balanced asymmetry and color distribution. A semiotic reading would highlight the contrast between the clear resin—emptiness—and the saturated gradients. Curator: This clear, curved material offers an introspective lens for me. Like the reflection of our own lives which are always refracting light. The use of geometric abstraction also interests me: does it mirror our effort to categorize human experience? It feels that Eversley evokes universality and introspection with simple material. Editor: A compelling viewpoint. Perhaps the hard edge hints at a limit to experience? What's contained can only bend the line so much before its cut. He's working in a lineage which stretches back to Mondrian in many respects. Curator: Well, it is rather compelling and meditative to ponder those reflections and possible limitations. Editor: It's intriguing to examine that tension—between dynamism and inherent stillness in the piece. This is something that certainly lends itself to repeated consideration and debate.