Here 2012

Editor: Peter Downsbrough’s, "Here," from 2012 presents a starkly empty room. My first impression is that it feels… deliberately empty, you know? A large square with the word ‘Here’ is drawn on the floor. A vertical line rises, almost aggressively. It makes you wonder about what is ‘here’, but also what *isn’t*. What are your initial thoughts? Curator: Well, my dear, it's an intervention, isn't it? It whispers of space and presence – a paradox wrapped in an enigma, served in a white cube. Downsbrough plays with absence like a seasoned jazz musician riffs on silence. That square on the floor—isn't it deliciously cheeky? It says "Here," but *where* is here, really? Inside the lines? Inside your head? Does that resonate at all with your initial take? Editor: Definitely. It's as if he's trying to define the space, or maybe even question the very idea of definition within art. It almost feels like a challenge. Curator: Exactly! Challenges are the spice of life, wouldn't you agree? The vertical line slicing through the room...it could be a boundary, a marker, a stark dividing line in a world obsessed with categorization. Think of it: simple geometry making profound statements! Editor: I’m getting the sense it is less about filling space and more about making us aware of the space *around* it, maybe prompting us to reflect on how we perceive environments. Curator: Precisely! Like staring at a map, darling, and suddenly seeing the unexplored territories in your own backyard. It's art acting as a gentle nudge, reminding us that meaning often hides in the plainest of sights. A real gem this. Editor: Yeah, looking at this piece, I will definitely not be overlooking negative space as readily. Curator: Wonderful, then our journey into "Here" has borne fruit!