Vrouw in de wind 1778 - 1782

Editor: Here we have Torii Kiyonaga's "Woman in the Wind," a woodblock print from around 1778-1782. I am really drawn to the curve of the woman's body in contrast to the harsh lines that surround her. What stands out to you? Curator: Note the formal elegance of line defining form, yes, but consider the implied diagonals, which introduce dynamic tension within the static picture plane. This, coupled with delicate gradations in colour, work against each other in interesting ways, destabilizing any fixed point of perspective. Editor: Destabilizing how? Is it more than just visual appeal? Curator: Think about the relationship between line and surface here, and where there is a breakdown. Where does form truly become “readable?” Can one describe a definitive boundary between figure and the negative space surrounding? Consider semiotics—the reading of signs. Kiyonaga is not simply making something pretty to look at. Editor: So, beyond the figure itself, you are saying the power resides in how Kiyonaga makes us work to *see* the figure, making our perception and definition part of the meaning? Curator: Precisely. Observe closely how his use of line dictates our understanding, our reading, if you will, of "Woman." Now, where might one situate her within the larger pictorial field? Editor: I initially just saw a picture of a woman but now I see the artist wants me to question my perceptions, it's exciting. Thank you! Curator: Indeed. Visual apprehension goes beyond the easily discernible.