Gravure, Uno 1967

Editor: This mixed-media print, “Gravure, Uno,” by Wifredo Lam, was created in 1967. It strikes me as a convergence of different elements. What social or cultural underpinnings do you observe here? Curator: Lam's work is deeply rooted in his cultural background and political consciousness. Born in Cuba to a Chinese father and a mother of mixed African and European descent, his art frequently explores themes of cultural hybridity and postcolonial identity. Editor: Interesting. Curator: His engagement with Surrealism and Cubism, movements heavily influenced by their fascination with non-Western art and primitivism, allowed him to explore and subvert those perspectives. What visual elements draw your eye? Editor: The combination of figuration and abstraction and the integration of symbols which could be seen as African masks or deities alongside Cubist forms. How might these choices have resonated with his audience at the time? Curator: In the 1960s, there was increasing dialogue around decolonization and cultural identity. Lam’s visual language served as a powerful form of cultural resistance. He challenged the dominance of European artistic norms and reclaimed imagery that was often misappropriated. Can you imagine how the display and reception of a work like this in a Western gallery context might influence the viewer's understanding? Editor: I suppose placing the piece in a gallery legitimizes his experiences, and at the same time, offers the public a chance to reflect on how such voices were marginalized in the art world. Thanks, this helps me see more clearly. Curator: Likewise, seeing the piece in light of decolonization efforts offers additional interpretive pathways for future exhibit design and scholarly investigations.