Plane c. 1940

Editor: Here we have Sydney Roberts' watercolor and pencil drawing, "Plane," from around 1940. It’s quite unassuming. Just a straightforward depiction of a hand plane. What do you make of it? Curator: Well, at first glance, it seems like a simple still life, right? But given its creation around 1940, the "Plane" transcends the ordinary. Consider the socio-political context. We're on the cusp of a global war. Everyday objects like this, particularly tools, start taking on new significance. Think about labor, craftsmanship, the very act of building versus destruction. Editor: I hadn’t thought about it that way. So, the plane becomes more than just a woodworking tool? Curator: Exactly. It could be seen as a quiet symbol of resilience, of creation in the face of looming destruction. What kind of labour, gendered expectations, class structures might be embodied in its use? Editor: I suppose it represents a certain kind of traditionally masculine labour, although anyone can use the tool itself. Does the style - the realism – play into this? Curator: Absolutely. The meticulous detail elevates the ordinary, suggesting an almost reverent focus. Think of the Works Progress Administration's art projects from the same era. Realism was often employed to depict the dignity of labor. Is there perhaps a connection here? Do you find anything striking about the coloring itself? Editor: The limited color palette, those browns and creams, maybe evokes a sense of austerity? Curator: Precisely. An austerity reflecting perhaps the anxieties and realities of the time. And, of course, it underscores the raw, unadorned nature of the tool itself, devoid of superfluous detail. Editor: It’s fascinating how context shifts our understanding. What seemed like a simple object is loaded with potential meaning. Curator: Indeed. The beauty of art lies in its ability to be a mirror reflecting societal narratives, even within what appears to be the simplest of forms. I will never look at tools the same way!