[no title] 1990

Curator: This is an untitled etching by Christopher Le Brun, part of the Tate collection; it's a small work, under 20cm in height. My first impression is that it feels like looking at something organic under a microscope. Editor: Yes, I see that, but my eye is drawn to the textures and the stark contrast. It looks like the artist manipulated the plate quite intensely; you can almost feel the pressure exerted to achieve that level of detail. Curator: The etching process, of course, allows for a degree of reproduction, meaning it could have been made available to a broader audience. How does this change our understanding of its role in society? Editor: Interesting. The choice of monochrome and the abstract forms feel deliberate; pushing against traditional notions of figurative painting that dominate institutional art spaces. Curator: I agree. By eschewing obvious representation and focusing on the material process itself, Le Brun challenges us to reconsider the value we place on originality versus accessibility. Editor: It makes you wonder about the artist’s intent, and if the work achieved whatever social impact was intended. Curator: It invites a close look. I’ll be thinking about the labour involved in its making, and how that informs its reception.