Balsam 2015

Editor: Soey Milk's oil painting, "Balsam," created in 2015, presents two figures, partly obscured, gazing out from behind draped fabrics and ornate headwear. It's incredibly captivating and feels like a commentary on identity. How do you interpret this work? Curator: It strikes me as a meditation on visibility and concealment, framed within specific cultural codes. The veiling suggests an engagement with cultural norms around modesty or perhaps status, playing with the historical trope of women’s representation and its socio-political implications. Editor: I see that! The ornate headwear and veiled figures seem to indicate traditional Korean garments, almost like a staged portrait. Curator: Exactly. The 'staging' is key. Contemporary portraiture often negotiates the tension between personal expression and cultural representation. Is the artist using tradition to subvert or to celebrate? Consider the title, "Balsam," implying healing or comfort. Does it relate to the figures' expressions or their hidden state? Editor: That's a really interesting question. The women's expressions seem placid. The title might reflect the desire to find solace in cultural identity. I also see that the style itself borrows elements from historical portraiture, and I am also reminded of the current contemporary trends towards identity play. Curator: The visual language, borrowing from historical portraiture, serves to root the work in art historical discourse, but by including details associated with tradition or ‘ethnic dress,’ Milk brings up crucial discussions on authenticity and representation within contemporary society. Editor: Thinking about how contemporary art can make those links to cultural and art histories makes "Balsam" such an engaging and complicated piece. Curator: Agreed, it exemplifies how an artist can subtly question the visual frameworks we use to understand identity and culture, challenging museums like ours to exhibit these works responsibly, considering the cultural backgrounds they address.