Something like an Elephant 

Curator: Editor: Here we have "Something like an Elephant" by Walter Battiss, likely created with acrylic paint in the Modernist style. It has this playful feel to it with its abstract, vibrant shapes. How would you interpret it? Curator: Well, for me, it's important to think about Battiss's background in South Africa under apartheid. Abstraction allowed artists like him a way to resist direct representation, maybe even comment on the oppressive structures through an seemingly innocent imagery. How does that framework influence your interpretation of the labor of painting such as this? Editor: I didn’t really see a sociopolitical message initially, but that’s interesting. The medium of acrylic paint suggests a democratized production method, making art accessible beyond traditional elites, does this tie into your consideration of labor? Curator: Precisely. Acrylics also imply mass production, readily available colors and surface textures that contrast to classical painting methods. And, let’s consider his use of bright colours and simplified forms: a rejection of academic art training that was considered important in this day. He is claiming a unique position, but how does the context influence this reading? Editor: It’s fascinating to view this 'playful' painting in a whole new light, knowing its production is intrinsically linked to social commentary through material choice and accessibility, and, in turn, pushing against established hierarchy of the art world and beyond. Curator: Absolutely! Considering production helps reveal resistance.