Untitled 1969

Editor: Soledad Sevilla's "Untitled" drawing from 1969 features this intricate network of fine golden lines on a brown background. It’s very subtle and quite mesmerizing... What’s your take on this drawing? Curator: What strikes me is the fascinating tension between the seemingly rigid, almost architectural structure and the potential for subversion. Given that it was created in 1969, the geometric patterns feel linked to the radical architectural theories emerging then, challenging established urban planning norms. It evokes conversations around control and freedom. How do you think these rigid lines can speak about the discourse present at the time? Editor: That's an interesting thought! I was just thinking about how the repetitive, almost hypnotic nature of the lines reminds me of Op Art... so the historical and social context didn’t occur to me right away. Curator: Yes, Op Art certainly is a critical aspect, but through this lens, can we also consider what it meant for a woman artist to be engaging with geometric abstraction during this period? Geometric abstraction was historically a male-dominated field. Editor: I see your point. Was she consciously engaging in a dialogue with those norms, or was she just working within a prevalent style? Curator: It is challenging to ascertain intent definitively. However, understanding the social context provides insight into her decisions. Sevilla engages with prevalent geometric and Op Art languages. It is also worthwhile to examine how identity intersects with her choice of non-figurative language and how she challenges notions of male-dominated geometric abstraction and her attempts at liberation through art making. Editor: That perspective makes me see the work in a new light, considering it beyond just visual appeal to a statement about claiming space in a specific art world context. Curator: Precisely! Contextualizing it through feminist and social lenses helps uncover some fascinating ideas within its geometric precision.