Untitled (Michel Waldberg: Poèmes dans le Ciel, SF315) 1986

Curator: Sam Francis created "Untitled (Michel Waldberg: Poèmes dans le Ciel, SF315)" in 1986. It's an acrylic on canvas, and the title nods to Waldberg’s poetry, a link hinting at Francis’ broader intellectual engagements. Editor: My first thought is one of explosive energy! It's as if color has been unleashed upon the canvas with reckless abandon. There’s this huge expanse of white, almost a void, surrounded by vibrant rivulets and splatters. Curator: Indeed. Francis's work is very much tied to the post-war American art scene. Many saw Abstract Expressionism as reflecting American freedom and individualism during the Cold War—a visual counterpoint to Soviet artistic restrictions. But let's consider his engagement with color theories and psychological impact; was he actively endorsing national politics or following a universal abstract principle? Editor: Visually, the piece creates a wonderful tension between the active perimeter and passive center. Those colors are carefully selected—primary hues alongside varied greens create internal dialogues. There's also textural variation, from fine drips to impasto blobs that catch the eye. It pushes the boundary, no? Curator: And Francis was influenced by his travels to Japan; he was even given a retrospective exhibition there. There's the impact of Zen Buddhism—that appreciation for empty space as full of potential. Do you see a political dimension there or strictly meditative? Editor: It feels…meditative, actually. The emptiness makes the colors almost vibrate against the canvas, like light refracted through a prism. It feels very personal, less of a declaration and more of an internal exploration of pure form and hue. The absence of a focal point emphasizes diffusion and freedom. Curator: Perhaps that diffusion speaks to a wider cultural sentiment too— a collective seeking beyond concrete ideological structures and even transcending personal, internal dialogues for something larger, which for him became the color itself, existing independent of any association. Editor: Maybe so. For me, it’s the way these chromatic bursts dance that stays—a harmonious disruption of our normal perceptions of structure in painting. Curator: Well, considering both the social implications and abstract artistry in these dynamic forms offers unique angles of insight. Editor: Absolutely. Thinking about his influences enriches appreciation, even when our perspectives differ.