Untitled 

Editor: Here we have "Untitled" by John Hoyland. It seems we don’t have the year of creation, and it’s crafted with acrylic paint. My first impression is that the geometric shapes in simple colors bring a sense of calm, despite the contrast. What do you see in this piece that stands out to you? Curator: The interplay between the colours strikes me as central. Note how Hoyland situates a saturated, somewhat acidic green against the grounding horizontality of the earthy red and then that detached, sky blue form. Editor: It's interesting how you describe the colors in relation to the landscape - "sky blue" for example. Why do you describe the composition this way? Curator: The interaction creates a push and pull across the surface. I am intrigued by how the colour behaves. Do the shapes yield an illusionary, receding space, or is it firmly asserting its flatness? The tension is, in my view, the strength of this work. The colour almost creates a feeling or a temperature in the space. Editor: So, it's less about what the shapes represent and more about how the colors and their placement create a visual and emotional experience? Curator: Precisely. The literal representation recedes, replaced by the intrinsic qualities of the paint itself, of form. Its composition is about itself as a painting. It generates its own aesthetic logic, if you will. Editor: That really makes me consider the choices artists make when working with abstract forms. Curator: Indeed. Hopefully, close study such as this allows us fresh access points.