Abstract Composition 1969

Editor: This is Alice Baber’s "Abstract Composition," created in 1969 using acrylic paint. I’m really struck by the vibrancy. The shapes feel organic, almost cellular, yet they’re arranged in a way that’s totally non-representational. What do you see in this piece from a formal perspective? Curator: Indeed, the cellular quality is an intriguing observation. From a formalist standpoint, I see a sophisticated interplay of color and form. Note how Baber utilizes the translucency of acrylic to create layers of overlapping color. The white background isn’t merely a void but actively participates in the composition, allowing light to penetrate and illuminate the chromatic interactions. Editor: So, it's more than just the colors themselves, but how they relate to one another and the negative space? Curator: Precisely. The structure, seemingly spontaneous, relies on a delicate balance between chromatic intensity and tonal contrast. Consider the strategic placement of saturated hues against paler washes, a formal choice creating a dynamic tension across the canvas. The use of varied shapes -- rounded versus more angular -- contributes further complexity. Editor: It almost feels like she's setting up a visual puzzle for us to solve. But is there one correct solution, or is the beauty in the act of observing itself? Curator: The latter. Formal analysis isn't about prescribing a single meaning but about understanding the *how* rather than the *what*. It encourages a focused observation on the artist’s deliberate choices, leading to a heightened appreciation of the work’s intrinsic aesthetic value. Through careful composition, Baber asks the viewer to engage in an active decoding of structure, color and materiality. Editor: I hadn’t considered how deliberate each application of color and shape might be, it is not chaotic at all, actually, when considering how the work presents itself visually. I learned a great deal today, thank you. Curator: You’re most welcome. The discipline of formalism reveals the potential within every brushstroke and every juxtaposition of form.