Appaloosa Kind of Day 

Curator: The painting before us, titled "Appaloosa Kind of Day" by Julie Bell, utilizes acrylic paint to present a striking composition. The blend of colors and textures is immediately arresting. Editor: Arresting indeed. My immediate sense is one of raw energy – almost volcanic. The texture seems thick, applied with deliberate force. It certainly embodies the power we associate with equine subjects. Curator: Notice how the figure of the horse, rendered in a near-abstract style, melds into the swirling environment. Bell utilizes a limited palette of predominantly oranges, blues, and blacks, creating both contrast and visual harmony. The overall structure evokes dynamism; the horse appears not still but captured mid-gallop. Editor: That dynamism interests me greatly. The texture implies layers, built upon each other – perhaps hinting at the multiple contexts influencing its making, the physical process involved with layers and drying. Also how interesting that a painting portraying movement appears still because the material, the acrylic, became fixed. Curator: An astute observation! This tension between static image and suggested motion underscores the expressive quality inherent within expressionism. The painting employs what you've just suggested–layering–, a depth built through this additive, chromatic means. It generates considerable depth for the viewer, even though the ground plane appears mostly uniform and lacking recession in areas. Editor: Yes, and let's not overlook how that choice of acrylic shapes the piece materially. The artist seems to leverage the fast-drying properties, building the image swiftly and deliberately. Was this speed dictated by necessity, or perhaps by an aesthetic decision—capturing a fleeting impression? And where might the acrylics have been sourced? Thinking about production provides another interpretive lens, I would argue, of both time and money! Curator: This piece truly benefits from consideration from both sides, I appreciate that you draw attention to those very essential questions about materiality and creation to highlight broader issues beyond formal consideration. Editor: Absolutely. Seeing how the materials have a background informs not just aesthetics but economic practices as well, while also informing about labour. Thank you! Curator: Thank you as well, a pleasure as always to be had at an exhibition like this!