Composition II 1998

Editor: Here we have Monique Orsini’s "Composition II" from 1998. It's an intriguing matter painting made with acrylic paint, all in monochrome. It feels quite textural and layered to me. What do you see in this piece? Curator: Immediately, I’m drawn to the layering and density of the paint itself. The artist isn’t just applying pigment; they're building up a surface, almost sculptural in its presence. Considering it a “matter painting” redirects our focus, don’t you think? Not to representation, but to the tangible properties of paint and the labor involved. How does this layering affect your perception? Editor: It definitely makes me think about the physical process, almost like geological strata being built up over time, rather than just an image. Do you think the choice of monochrome affects this? Curator: Absolutely. The limited palette removes any potential for representational narrative through color, pushing us to concentrate solely on the materiality. How does the texture created relate to the act of creation and Orsini's physical engagement with the artwork? Editor: I suppose the rougher texture at the bottom suggests a more vigorous or perhaps lengthy period of work, maybe contrasting with a smoother, quicker application towards the top. Almost like she’s revealing different stages of the making process. Curator: Precisely! Orsini seems intent on demonstrating artistic work, inviting questions about value, production, and labor in creating contemporary art. It really begs the question of whether viewers appreciate or consider these production practices in how they enjoy art, don’t you agree? Editor: It's certainly given me a new appreciation for the hands-on work that goes into creating abstract art! It's so interesting to consider art making through the lens of process and labor, just as much as visual design!