Dimensions: support: 314 x 234 mm
Copyright: © Stephen Gilbert | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This untitled ink drawing by Stephen Gilbert from 1948 is quite striking. The stark contrast and chaotic lines give it a raw, almost aggressive energy. What stands out to you? Curator: The energy you perceive likely reflects the postwar anxieties prevalent when Gilbert created this. Abstract Expressionism, like this piece, became a powerful visual language. How might its lack of clear representation challenge traditional notions of art and its purpose within society? Editor: That's fascinating! It's like it's rejecting the status quo. It makes me think about how art can reflect social upheaval. Curator: Exactly! And how museums, even now, play a crucial role in legitimizing these shifts. It is more than just ink on paper; it's a dialogue with history. Editor: I never thought about it that way. Thank you.
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Gilbert made drawings like these as a way of coming up with ideas for his paintings. Organic shapes, heads and fantastic animals emerge in these images, tangled up with vigorous lines. The same triangular face can be found in both the monotype print and one of the ink drawings. This combination is characteristic of the work Gilbert made after settling in Paris in 1945. They move away from earlier, more explicit animal forms and show his development towards a fluid abstraction. This shift coincided with Gilbert’s involvement with CoBrA. Gallery label, July 2005
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