Untitled 1975

Editor: This is an Untitled piece from 1975 by Valerie Jaudon, created on paper. It features a complex pattern; almost like woven strands, but made of paint. I'm curious – what stands out to you in this artwork from a formal perspective? Curator: Primarily, the work intrigues as an exercise in visual organization. Note the repetitive mark-making; these small, rectangular forms build into a larger, all-over composition. How does the artist manage to maintain visual interest within such a constrained vocabulary? Editor: I see what you mean! The subtle variations in the direction and placement of each stroke must be crucial. Are you suggesting the pattern, though seemingly uniform, actually avoids rigid repetition? Curator: Precisely. While adhering to a grid-like structure, Jaudon avoids mechanical reproduction. There is a nuanced handling of texture and slight tonal differences that contribute to its visual dynamism. This tension between order and disorder, between system and chance, is key to the work's success. Observe also the subtle suggestion of curvilinear forms embedded within the overall grid. Editor: Now that you mention it, the curves are definitely present, and play against the straight lines, don't they? Do you see this having links to other artists working with similar styles? Curator: One can't help but consider its place within the context of pattern and decoration, as well as minimalist and post-minimalist tendencies of the period. Jaudon engages with seriality, a formal concern of minimalist art. We must consider not only what is shown but how it is presented as well. Editor: That's a lot to think about. I’ll never look at simple patterns the same way again. Thank you. Curator: Indeed. By attending to the internal relations of form, color, and texture, we start to appreciate its complex engagement with fundamental aspects of seeing.