Crivelli’s Room I 1967

Curator: Gillian Ayres' "Crivelli's Room I," housed at the Tate, explodes with vibrant color—it's utterly captivating. What's your immediate take? Editor: It strikes me as a celebration of the means of print production. The graphic quality, the layering of flat colors. It feels almost like a blueprint, meticulously planned. Curator: It's more than just a blueprint. There’s a dreamlike quality, a kaleidoscope of visual delights. The peacock, the birdcage—they evoke a sense of exoticism, transporting me to another world. Editor: The patterns do create a certain ambiance, but consider the materials themselves. What kind of paper, what type of ink? These choices contribute to the overall effect. Curator: Perhaps, but the impact extends beyond mere materials. It's a world of pure sensation, a joyful expression of the artist's inner vision. It’s about seeing and feeling. Editor: Well, it gives us much to consider about the labour and the industrial processes required to make this print. Curator: Exactly, it is a very captivating piece that takes you away but is also very thought provoking. Editor: Indeed, the layers of materiality and meaning in here, invites curiosity, compelling us to reflect on the interplay between design and production.