Untitled 

Curator: Immediately, I feel… trapped. Like a glittering cage. Editor: That’s a powerful response. We're looking at an oil painting by Roger Bissière, simply titled "Untitled." He worked within a modernist abstract expressionist style. Though undated, it reflects a movement flourishing mid-20th century. What makes you say "trapped"? Curator: All these stacked, blocky forms. It's a dense cityscape, but not a vibrant one. More like a compressed labyrinth. The dark background feels suffocating. Though, I admit, there is a strange allure in the jewel-toned colors nestled within the blackness. Like discovering treasures within shadows. Editor: Yes, I agree. The darkness frames those flashes of ochre, red, and soft greens, making them read almost as points of resistance against the overwhelming darkness. Consider the social context of abstract expressionism: the post-war anxieties, the Cold War tensions. Could this apparent confinement be a reflection of a society feeling similarly constricted? Curator: Absolutely! The darkness definitely speaks to that heavy weight of the world. But it is interesting the colors and geometries create this, dare I say, 'retro' or 'futuristic' feeling at the same time. Perhaps Roger Bissière hints at the promise, or illusion, of progress contained, still boxed up inside? Editor: A potent interpretation. We should also acknowledge the style itself. Abstract Expressionism privileged the artist’s subjective experience, pushing for raw, emotional expression. Bissière translates that inner turmoil, perhaps unconsciously revealing the disquiet beneath the surface of societal optimism. Curator: And yet, I still find myself drawn to it, despite the unease. The composition— though chaotic—is somehow balanced. The artist's intent seems to oscillate between order and entropy, constraint and a hesitant sort of release. I guess it just proves our complexity as human beings! Editor: Indeed. Bissière offers a space to reflect on those complex emotions—fear, hope, and the ever-present tension between control and freedom. Curator: Thanks, that helps me to process it more. There's an awful lot there, maybe too much, that Roger Bissière’s put into such a small piece of real estate. Editor: An accurate remark, highlighting Bissière’s brilliance.