Columbia 2016

Editor: This is "Columbia," an oil painting by Arsen Savadov, created in 2016. There’s a lot going on; it feels almost theatrical, with figures that seem to come from different stories or times. How do you interpret this work? Curator: This piece pulls you in many directions, doesn't it? Savadov is playing with allegory here, challenging traditional notions of nationhood and identity. “Columbia” was often used to represent the American ideals of freedom, opportunity, and progress, right? But what does it mean to depict her amidst what looks like the crumbling remnants of cultural artifacts and fragmented identities? Editor: I see what you mean. It’s like he’s deconstructing the familiar image. Is the presence of figures resembling commedia dell'arte characters part of this commentary? Curator: Precisely. The commedia dell'arte characters inject a European theatrical tradition, almost a carnivalesque element, that seems out of place in an "American" scene, no? The symbolism disrupts any straightforward narrative. The books, musical instruments, even the skull— they become tools to probe historical and cultural narratives, right? Editor: Right, it's less a celebration and more of an investigation of the very concept of "Columbia." The woman at the center - her direct stare forces us to confront these complicated realities. Curator: Exactly. Think about who has been historically excluded from the promise of "Columbia". By putting it all together in one scene, Savadov presents this history as multi-layered, contested. What is 'Columbia' if not for its people - all of its people? Editor: It is definitely a conversation starter and a work that challenges easy categorization. Curator: Indeed. And, thinking about it, I’d say the contemporary application of allegorical figure becomes all the more potent today.