Petroglyph - Human Figures 1935 - 1942

Editor: This is "Petroglyph - Human Figures" a drawing made sometime between 1935 and 1942. I find it fascinating how the artist, Lala Eve Rivol, abstracts human forms into these geometric, almost symbolic shapes. What do you see in this piece beyond the figures themselves? Curator: I see a visual language deeply rooted in Indigenous Americas' storytelling traditions. It’s crucial to acknowledge that these aren’t just aesthetic choices; they are cultural and historical records. Think about the erasure and misrepresentation of Indigenous cultures during that period. This work becomes an act of resistance, preserving and celebrating a heritage often marginalized. How do these figures interact with each other, and what stories might they be telling? Editor: They seem disconnected, almost floating in this grey space. Is that space significant? Curator: Absolutely. The undefined space emphasizes the disruption and displacement experienced by Indigenous communities. The lack of a grounded context speaks to the loss of land and traditional ways of life. Each figure, isolated yet interconnected, might represent fragmented histories, resisting assimilation and asserting a continued existence. What emotions does this sense of isolation evoke in you? Editor: A sense of resilience, maybe? That even separated, there's a shared visual language. Curator: Precisely. It challenges dominant narratives, reminding us of the power of art to reclaim and redefine identity. Considering the timeframe, doesn't it prompt reflection on the ongoing struggles for Indigenous sovereignty and cultural preservation? Editor: Definitely. I hadn’t considered it in that context. Thanks, that really shifted my perspective. Curator: It’s a privilege to engage with art that demands we confront history and consider contemporary social justice issues.