O39-68 1968

Editor: This is Fernando Lanhas's "O39-68", a stencil print from 1968. It’s composed of simple geometric shapes – black lines and curves on a grey diamond, set against a white background. I find its starkness and muted palette quite striking, but also a little enigmatic. How do you interpret this work? Curator: For me, it speaks of coded languages, of symbols stripped down to their most essential forms. Notice how the diamond itself is a potent shape, often representing enlightenment or a portal. And the black lines? They could be interpreted as fragments of written language or perhaps musical notation. Editor: Musical notation, that's interesting. I hadn't considered that. Do you think the artist intended a specific meaning, or is it more about the viewer’s individual interpretation? Curator: I believe it’s the latter. Lanhas presents us with a vocabulary, and it’s up to us to construct our own narrative. It reflects the artist's fascination with cosmic diagrams, hinting at universal structures just beyond our comprehension. Think about the psychological impact: the contrast of light and dark, the stability of the geometric form versus the ambiguity of the symbols... How does that sit with you? Editor: That makes a lot of sense. The more I look at it, the more I see these basic shapes almost resonating with something deeper – it's as if he’s using geometry to touch something not geometric at all. Curator: Precisely! The power of symbols lies in their ability to transcend their literal meaning, carrying layers of cultural and personal associations. And abstraction allows those associations to become incredibly potent, almost primordial. Editor: Well, I came in seeing simple shapes. Now I’m seeing echoes of everything from ancient alphabets to abstract scores, it's really made me look beyond the surface. Thanks. Curator: And I, through our conversation, appreciate more clearly how its starkness might, initially, obscure its symbolic richness.