Grosse Hornmaske 1997

Curator: Just look at this intriguing artwork—it is called "Grosse Hornmaske," which translates to Large Horn Mask. Created by Manuela Sambo in 1997, it’s primarily an assemblage made of wood. Editor: Its immediate presence is undeniably strong. The stark contrast of the light and dark segments and those dominating horns command attention, but there is also something distinctly unsettling about it. Curator: Masks often serve as conduits, connecting us to something beyond the mundane. The stylized bovine features evoke strength and primal energy. It's interesting how ancient mask traditions surface in modern artistic expressions. What is culturally remembered of our primal fears of predators? Editor: That bold, central vertical line, bisecting the face, almost disrupts any sense of unified form. The geometric exactitude against the almost primitive shape yields a formal discordance I find exciting. It introduces an almost brutalist architectural sense, even in figuration. Curator: Precisely, the geometric simplification is the key! Throughout history, animal masks and totems were employed during rituals, invoking spirits, and serving as vessels for transformation. Do you suppose the artist intended the work as an examination of power? The unsettling mood for you, is this the feeling one feels approaching a figure of authority? Editor: I find it so successful with how simple its techniques seem to be, even the very shapes feel somewhat rudimentary, and yet, the result is such a bold statement. I keep getting drawn back to that line – dividing, creating duality, or perhaps symbolizing some hidden symmetry within the "primitive" face. Curator: Well, masks always possess multiple layers of interpretation. Editor: True. Ultimately, it prompts us to confront our own perceptions of power, fear, and representation itself, but this encounter truly does give us insight into how we perceive power, through line, color, and shape. Thank you!