Jerga (Carpet) c. 1938

Curator: Allow me to draw your attention to a textile drawing from around 1938, titled "Jerga," by Margery Parish. Notice how the geometric pattern uses multiple different colors to define the various geometric regions of the textile. Editor: Oh, wow. It feels both meticulous and kind of soothing, doesn't it? Like a really comforting crossword puzzle made of yarn and color. The patterns have a great rhythm. Curator: Indeed. What's particularly interesting here is how Parish renders the texture, almost a trompe l'oeil effect. The minute hatching of the various yarn weaves creates a subtle haptic feel, despite being a visual representation. Editor: I see what you mean! It's a drawing *of* texture that makes me think about all kinds of haptic associations. Grandma's afghans, cozy wool socks—but at the same time, that systematic rendering is mesmerizing. I bet this piece sits right on the fault line between design and fine art. Curator: Precisely. The grid-like structure immediately asserts a certain rigor, bordering on the mathematical, but then there are those softer color transitions, the slight imperfections, which gives it all a handmade feeling. It neatly straddles the divide. The diagonals within the blocks lead to some very dynamic visual interest. Editor: Do you know anything about the purpose of this work? Curator: While specifics about the artist's intent remain scarce, “Jerga” can be understood as exemplary of its engagement with Pattern and Decoration, underscoring both the aesthetic beauty and the conceptual potential inherent in decorative forms. Editor: So interesting, Margery! So much is going on with it and her choices. Curator: Agreed, its an aesthetic feat worth spending some time viewing carefully!