Peak and Plane 1980

Curator: David Driskell’s "Peak and Plane," created in 1980, offers us a vibrant mixed-media exploration of form. What are your initial thoughts? Editor: It’s dazzling! My first impression is its explosion of color; a riotous landscape of pinks, yellows, greens, all woven together, yet strangely grounded by those firm horizontal lines. Curator: Driskell often engaged with the cultural landscape in his works, embedding social and personal narratives within seemingly abstract forms. We see hints of Abstract Expressionism, but also Fauvist sensibilities in the liberated use of color. What narratives do you see emerging here? Editor: It feels intensely personal, yet undeniably connected to larger histories. The textures and colors evoke, for me, a complex layering of experiences, perhaps even a reclaiming of spaces—intellectual, emotional, physical—particularly resonant for Black artists navigating predominantly white art spaces. I love the way these linear details create and suggest tension as if speaking of borders and boundaries. Curator: That’s an interesting reading. Considering the period, it also reminds me how definitions of artistic identity were being challenged and broadened. Artists of color, in particular, grappled with expectations, and Driskell's approach, melding abstraction with identifiable forms, feels like a strategic negotiation of these complex terrains. His contribution speaks volumes about agency and artistic self-determination within these socio-political environments. Editor: Exactly! This blending feels like resistance, but also a celebration of a multi-faceted self. We might question whose expectations, boundaries, and imposed narratives that Driskell is breaking apart here, as well. This isn't just an exploration of form but an investigation of identity. Curator: Precisely. Viewing this piece is a lesson in deconstructing traditional artistic narratives, urging us to consider how the political context invariably shapes artistic choices. Editor: "Peak and Plane," far from being merely abstract, emerges as a profound meditation on navigating identity and carving out space within layered social structures. The raw power of art. Curator: I agree entirely. I'll look at abstraction differently.